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MEZZOTINT PORTRAIT OF COTTON MATHER BY PETER PELHAM 


ONE HUNDRED 
NOTABLE AMERICAN ENGRAVERS 


1683-1850 


LIST OF PRINTS ON EXHIBITION IN THE PRINT GALLERY 


O far as known, the first exhibition of early American engravers worthy 

of note was held by the Museum of Fine Arts, Boston, in 1904. The 
catalogue of this exhibition contains 665 items by 157 engravers, arranged 
alphabetically. 

The first similar exhibition in New York was held by the Grolier Club, in 
1908, of material belonging to David McNeely Stauffer, who prepared the 
catalogue. This catalogue contains biographical notes and other informa- 
tion summarized from Stauffer’s important work, “American Engravers 
upon Copper and Steel,” published the same year. The exhibition contained 
296 examples by 147 engravers. The arrangement was alphabetical. 

The present exhibition aims to illustrate the development of the art of 
engraving in America from its beginning down to 1850. The earliest ex- 
ample shown, and the earliest known (a reproduction of the original) is a 
woodcut portrait of Richard Mather, attributed to John Foster, and engraved 
before 1670. The earliest engraving on copper shown, as well as the earliest 
known, is a map of the Raritan River engraved, probably in New York, by 
R. Simson in 1683 (a photograph of the original). These are the earliest 
recorded examples of printed engraving made in North America, the earliest 
engraving upon metal for purposes of reproduction being the dies for the 
Pine Tree Shilling, cut by Joseph Jenckes of Lynn, for the Colony of 
Massachusetts Bay, in 1652. A collection of these coins is shown in Floor 
Case A. The earliest original engraving shown is the Massachusetts Note of 
1702, by John Conny. There is also shown an original Latin bookplate, 
dated 1690, but probably printed from movable type. 

[3] 


4 THE NEW YORK PUBLIC LIBRARY 


In so far as possible, the exhibition has been chronologically arranged, and 
in connection with the more important engravers, where available, examples 
of their earliest, most important, and later, work have been shown, as well as 
specimens of their different styles, if they worked in more than one — line 
engraving, stipple, mezzotint, etc. | 

Where not otherwise indicated (by a +), the items exhibited belong to 
The New York Public Library, and are largely taken from the collection 
formed by Mr. Stauffer, and given to the Library, in 1916, by his widow. 
Most of the prints not owned by the Library have been lent by one of the 
Trustees. 

Although it was the aim of the Library, in the space available, to limit the 
examples shown to the work of the one hundred men who had contributed 
most to the development of engraving in America, either by pioneer work, the 
introduction of new methods, or technical or artistic skill, the exhibition 
actually contains one hundred and twenty-five names, excluding firm com- 
binations, and 393 items. 

Floor case F contains a few important early examples not identified by 
Stauffer or Fielding, as well as a few items which may be classed as 
“curiosities.” 


In the following list, each item that is listed in D. M. Stauffer’s “American 
Engravers upon Copper and Steel,” 1907, or in Mantle F ielding’s supple- 
ment to the same, 1917, is marked “Stauffer” or “Stauffer-Fielding,” with 
the number it bears in the book referred to. When a given print is listed in 
a special catalogue of a given artist, such as Durand or Edwin, the title of 
such printed catalogue is given. Sizes are given only when the print in ques- 
tion is not listed in any such printed catalogue. Sizes are given in inches and 
sixteenths, height being noted first. 

The prints are arranged in chronological order, beginning with Wall Case 
no. 1. . 

In the Floor Cases, marked A-F, are placed prints which, because they are 
in books, or for some other reason, could not be shown in the wall cases. 
These also are chronologically arranged and are entered at the end of the 
present list. Chronologically, they fit in at various points in the wall case 
display. The first floor case (A), in fact, precedes the first wall case in point 
of date. 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 5 


A number of the engravers in the following list are represented also by 
prints in the exhibition of “Early Views of American Cities, etc.,” in the third 
floor corridor of the Library. In each such case the fact is noted by reference 
to “Early Views,” followed by the numbers of the items referred to. 

In some cases, it has been possible to give more detailed information (dates, 
etc.) in regard to individual engravers than is contained in Stauffer. This 
explains also why certain artists — sometimes those of lesser importance — 
have biographical notes of more length than some of the most important 
artists. Ihe reason is, of course, that in the latter case full information is 
given in Stauffer, while in the former it is not. .The present list does not aim 
to give biographical facts excepting such as are new. 

The exhibition is on view from December 15, 1927, to April 30, 1928. 


LovdNWerans 


THE CATALOGUE 


Wall Case 1 


PELHAM, PETER, English engraver, came to 
Boston about 1726, died 1751: 


“A good engraver of portraits in mezzotint,” says 
Stauffer, ‘‘and the first of record to practice that 
branch of the engraver’s art in an American colony.” 


Cotton Mather. Cottonus Matherus/ S. 
Theologie Doctor Regie Societatis Londin- 
ensis Socius, / et Ecclesie apud Bostonum 
Nov-Anglorum nuper Praepositus. / Atatis 
Sue LXV, MDCCXXVII. —P. Pelham ad 
vivum pinxit ab Origin. Fecit et excud. 
Mezzotint. Stauffer 2469. Restrike. 


First mezzotint portrait executed in America. The 
restrike here shown was made about 40 years ago, just 
before the plate was presented by the elder Joseph 
Sabin to the Library of Congress. 

Thomas Prince. Jno: Greenwood Pinx.— 
P. Pelham fecit. / Thomas Prince A. M. / 
Quintus Ecclesie Australis Bostonii Novan- 
glorum Pastor, e Collegii Harvardini / Can- 
tabrigie Curatoribus, Samuelis Armigert Fil- 
ius et Thomae A. M. denati Pater / Printed 
for & Sold by J. Buck at ye Spectacles in 
Queen-street Boston. 1750 Mezzotint. Stauf- 
fer 2472. 


GREENWOOD, JOHN, 1727-92: 


Born in New England, but spent his art life in 
Holland and England. The New York Public Li- 
brary’s Print Room contains an unusual collection of 
his work in etching and mezzotint. A note on the 


artist, with his portrait and a list of his prints, ap- 
eva in the Library’s Bulletin, v. 31, 1927, p. 623- 


See also preceding entry, in which he appears as 
painter. 


See also ‘‘Early Views,” no. 12. 


Portrait of Simon Fokke. J. Buys pinxit. 
/ J. Greenwood fecit. 13.4 x 11.3. Mezzotint. 
ate BN Rea Ra 


Girl with candle. After Verkolje. Before 
all letters. 12.14 x 9.10. Mezzotint. N. Y. 
P. Li 16a, 


Wall Case 2 


DEWING, FRANCIS: 
See ‘‘Early Views’’, no. 51. 


TURNER, JAMES: 
The earliest engraving by this artist seen by Stauf- 
fer bears the date 1744. He died in 1759. 


Like more than one American engraver of the 
period, he tried to make himself generally useful. He 
engraved ‘‘copper plates for the rolling press, stamps 
in brass and pewter for the common printing press, 
coats...on gold, silver, copper, brass or pewter.” He 
“made watch faces...seals in gold, silver or steel 
...steel stamps..:.for saddlers and bookbinders.”’ 


See also ‘“‘Early Views,” nos. 13, 54. 


+Isaac Watts. Jas. Turner Boston Sculp. / 
Isaac Watts D. D. / Musas colimus Severiores 
/ Boston Printed for Rogers & Fowle in 
Queen Street and Joshua / Blanchard at 


6 THE NEW YORK PUBLIC LIBRARY 


the Bible and Crown on Dock Square 
MDCCXLVI. Line. Stauffer 3329. 


From “Sermons by I. Watts,” 7th edition, Bos- 
ton, 1746. 


+ Boston. View on title-cover of American 
Magazine, Boston, March, 1744. J. Turner. 


Probably cut in type-metal. Stauffer-Fielding 
1721. 


Stauffer-Fielding confuses this with Stauffer 3330, 
which is a copper plate line engraving, and which is 
shown as item 13 in the ‘Early Views” exhibition. 
Stauffer-Fielding gives date of the issue of the Ameri- 
can Magazine on which this cut appears as March, 
1746. The Library’s copy of that issue has no cover- 
title and therefore no cut. The New York Historical 
Society reports similarly in regard to its copy. But, 
although the Public Library’s set of the magazine 
shows covers only for March and April, 1744 and 
June, 1746, the cut is present in each of those three 
cases. Moreover, the Historical Society reports that 
there are printed directions to the binder calling for 
the removal of the first two pages, which would 
account for the absence of cover-pages in bound copies 
of the magazine. The pagination is continuous from 
number to number, without the cover-titles and adver- 
tising pages, none of which are paged. 


As to the material on which the little print was 
engraved, one may add to the gay game of conjectures 
by quoting Stauffer (11:279): “the Penn coat of 
arms which appears in the headline of the ‘Pennsyl- 
vania Gazette’...signed by Turner, is probably an 
example of the ‘stamps in Brass or Pewter for the 
common Printing Press’ referred to in his advertise- 
ment. 


See, ve Turner, also note to item Boston-Gazette, 
Floor Case D. For other examples of wood-cut or 
type-metal headings for magazines, almanachs or news- 
papers, see Floor Cases C, D and E. 


t+ Book plate: Isaac Norris. Isaac Norris Bs 
Jas. Turner sc. Line. 


JOHNSTON, THomas, 1708-67: 


His name, Stauffer informs us, is generally spelled 
Johnston. The signature to his plan of Boston — 
Thomas Johnson —he continues, “is either. an en- 
graver’s error, or is due to the carelessness of the 
period in spelling family names.” 


See also Floor Case E in the present exhibition, 
and “‘Early Views,” no. 12, 14, 59. 


tf Book plate: W. P. Smith. Thomas John- 
ston Sculp. | William P. Smith A. M. Line. 


Hurp, NATHANIEL, 1730-77: 


Hurd, in an advertisement in the Boston Gazette, 
1760, informs the public that he does “all sorts of 
Goldsmith’s Work. Likewise engraves in Gold, Silver, 
Copper, Brass and Steel, in the neatest Manner, and 
at reasonable rates.”” In copper engraving he produced 
a few portraits and some odd jobs, — a Masonic notice, 
an advertisement. But book plates appear to con- 
stitute the main portion of his engraved work. Stauf- 
fer notes one as early as 1749. 


In the Emmet Collection, New York Public Li- 
brary, there is a bill made out by Hurd, in 1773, 
which gives interesting and amusing details in regard 
to his activities. The bill covers mending sauce pan 
and can, putting crest on sauce pan, and taking out 
crests from two articles and substituting the owner’s, 
and the total is £4.13. In this matter of arms, there 
appears in the Heraldic Journal, Boston, 1865, p. 19- 
21, a note on Hurd, written from the standpoint of her- 
aldic authenticity. The magazine, in fact, is much 
concerned with “the fabrications of herald-painters” 
before 1800. The writer concludes: “At present it is 
not safe to trust too implicitly to Hurd’s authority. 
I think that there is strong reason to suspect that he 
owned and used a copy of Guillim’s Heraldry; and it 
would therefore be unwise to accept a book-plate en- 
graved by him as sufficient proof in itself.”’ And so 
we see again that there are various points-of-view in 
the study and appreciation of prints! 


_ For portrait of Hurd, see the mezzotint by Jennys, 
in this case. 


Joseph Sewall. Ob. 27 June 1769. Zitat. 81 / 
Joseph Sewall, D.D. / Pastor of the Old 
South Church Boston. / Vita Bene — Acta 
Efficit Senectutem—Jucundam / Engrav’d 
& Sold by Nat Hurd Boston. 1768. Line. 
Stauffer 1476. 


Book plate: Thomas Palmer. 
Sculp. / Thomas Palmer. Line. 


“In 1762 he engraved a rare caricature portrait of 
Dr. Seth Hudson, a notorious character; and in 1764, 
a portrait of the Rev. Joseph Sewall. With these ex- 
ceptions, and a Masonic notice engraved about 1764, 
numerous book-plates constitute the known engravings 
of Nathaniel Hurd.” — Stauffer. 


N. Hurd 


JENNYs, RICHARD, JR: 
Late 18th century. 


+ Portrait of Nathaniel Hurd. Mezzotint. 
Trimmed to 3.14 x 3.1. 


This portrait is ik evidently taken from the 
same original as the lithograph published in the New 
England Magazine, July, 1832. This latter was 
printed by Pendleton, Boston. In the accompanyin 
article on Hurd we are informed that this li ograp 
was copied from a mezzotint engraved by “a man 
named Jennings,’ from an original picture of Hurd 
by Copley. The picture was stated to be at that time 
in the possession of one of Hurd’s relatives in Med- 
ford, Mass. Stauffer thought that this Jennings was 
doubtless Richard Jennys, Jr., since the mezzotint 
portrait of Jonathan Mayhew by Jennys (published in 
Boston about 1774, says Stauffer) was “printed & 
sold by Nat. Hurd.” But Stauffer did not find an 
impression of the Hurd portrait. Stauffer himself 
made a wash drawing, now in the Library, “from 
crude litho,” which is this same Copley type. 


Frank W. Bayley, in his “Life and Works of Cop- 
ley,” Boston, 1915, p. 152, describes what is evidently 
this same painting, thus: 


“The head is completed, but the rest of the picture 
is unfinished. It is evident, however, that Copley 
intended to represent his friend, the engraver, char- 
acteristically at work, as the hands, and the shirt 
sleeves rolled up, are more than indicated. This pic- 
ture is in the possession of a descendant, Nathaniel 
Furness of Tarrytown-on-the-Hudson. There is an- 
other fine picture of this artist, of half length, highly 
finished.”’ The description of this last agrees with the 
reproduction in the Cleveland Museum of Art Bulle- 
tin, July, 1916, of the painting by Copley in the John 
Huntington collection. It shows Hurd in half-length, 
with clasped hands, seated at a table on which there 
are books. The table is between the beholder and 
Hurd, who faces front. 


AITKEN, Ropert, 1734-1802: 


Aitken, born in Scotland, was a printer and pub- 
lisher, who issued the ‘‘Pennsylvania Magazine” dur- 
ing 1775-76. His engravings, says Stauffer, “show an 
unpractised hand.” He, too, like others of the early 
printers, eked out an existence by various activities. 
He was printer, publisher and book-seller. 

See also ‘‘Early Views,” no. 79 note. 


+ Battle of Bunker Hill. Over: for the Pena 


Maga. Under: Aitken sculp. / A Correct 


View of The Late Battle at Charlestown June 
17th 1775. Line. Inscription above trimmed 
off. Stauffer 3. 


This plate, says Stauffer (11:228) was re-engraved 
by Aitken on a réduced scale from the “Exact view” 


of the battle by Bernard Romans (Stauffer 2ISE); : 


A comparison of the various pictures of this battle 
would be interesting. There are the almost con- 
temporary ones, those somewhat later, such as Trum- 
bull’s painting, and the quite modern reconstructions 
such as Howard Pyle’s illustrations. This matter of 
the authenticity of the contemporary pictorial docu- 
ment, and the later visualizations of a given scene, 
was touched on lightly in an article on “Pictorial 
documents _as illustrating American history,” in the 
“History Teacher’s Magazine” for February, 1917. 


SNIMMVC AUNAH AM GHAVUONG “P91 NI ADATION NOLAONTAd 


| 
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ge Aran NAAR Na AANA 


ENGRAVING BY PAUL REVERE 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 7 


Plan. Boston and Provincial Camp. Above: 
Engrav'd for the Pennsylv4 Magazine / (On 
panel in base) A New and Correct / Plan of 
the Town / of / Boston, / and / Provincial 
Camp. (Under panel) Aitken —Sculp. / In- 
scription above trimmed off. Line. Stauffer- 
Fielding 5. 


Pennsylvania Magazine. Title-page. Over: 
The / Pennsylvania Magazine: / or 
American Monthly Museum. / 
MDCCLXXV. / Volume I. / Under: P. E. 
D. mv. & delin.— R. Aitken Scu ;trimmed to 
here; / Juvat in sylvis habitare. / Philadel- 
phia: / Printed and sold by R. Aitken, Printer 
and Bookseller, / Opposite the London Cof- 
fee-House, Front-Street. Line. Stauffer 10. 
Inscription in type print, excepting artists’ 
names. 


Wall Case 3 


DAWKINS, HENRY: 


“Located in New York as early as 1754,” says 
Stauffer. It appears that in 1776 he was arrested for 
counterfeiting, an activity apparently engaged in by 
more than one engraver of the time. 


See also Floor Case E in the present exhibition, and 
“Early Views,” no. 16. f 


Map of Delaware Peninsula. To the Amer- 
ican / Philosophical Society / This Map of 
the Peninsula / Between Delaware & / Ches- 
opeak Bays / and the said Bays / and shores 
adjacent / drawn from the most / Accurate 
Surveys is / inscribed by / John Churchman. 
Line. Stauffer 465. 


“This much resembles Dawkins’ work and _ is 
ascribed to him.” — Stauffer. 


Masonic summons. Two columns with arch 
inscribed Cemented with Love, supported by 
base with five steps. Masonic emblems. Nine 
lines, beginning Brother / you are desired... 
between columns. Inscribed on lower step: 
Brother Henry Dawkins Sculpt. Phila. Line. 
Stauffer-Fielding 334, without inscription 
on step. 


“Published afterwards in Free Mason’s Maga- 
zine, vol. 11, Jan., 1812 (page 241), without inscrip- 
tion.” — Stauffer-Fielding. 


+ Book plate: William Whitebread. William 


Whitebread / H. Dawkins Fecit. Line. 


As there were books which no gentleman’s library 
should be without, so too the bookplate was a recog- 
nized necessity. It is interesting to see the early 
American engravers doing their best, with varying 
success, to supply a demand though, for a while, 
artistic activity lagged quite behind the intellectual. 


+ Book plate: Benjamin Kissam. Benj Kis- 
sam / H. Dawkins Invt. et Sculp. Line. 


ReEveRE, PAut, 1735-1818: 


Patriot, silversmith, engraver: an appeal in his 
record to the average American as also to connoisseurs 
and collectors in two specialties in art. There is an 
historical significance in his engravings that atones 
for whatever crudeness they may show in execution. 
They are noteworthy among the sparse contemporary 
pictorial records of the doings of the stirring days of 
the Revolution. 


See also ‘‘Early Views,” nos. 11, 89. 


* Sir Wilbraham Wentworth. Vol. I-No 
III, / P Revere sculp- / Sir Wilbraham 
Wentworth. Line. Stauffer 2672. 


From ‘‘Royal American Magazine,’”’ Feb., 1774. 


+ Boston Massacre. (Over: The Bloody 
Massacre perpetrated in King-Street Boston 
on March 5th 1770, by a party of the 29th Regt 
Under: Engravd Printed & Sold by Paul 
Revere Boston... The unhappy Sufferers 
were Messs Sam! Gray, Sam! Maverick, Jams 
Coldwell, Crispus Attucks & Patk Carr / 
Killed. Six wounded; two of them (Chrisir 
Monk & John Clark) Mortally,; Line. Stauf- 
fer 2675. 


The lettering as given is that of Revere’s original 
engraving. The bracketed portions do not appear on 
the print here exhibited, which is an impression of a 
copy issued early in the 19th century. But the top 
portion of the first line of the inscription below shows, 
cut off by the plate-mark, so that this plate was 
apparently cut at the bottom. The size— 7.15 x 8.10 
— differs slightly from that of the original — 7.14 x 
8.11 — as given by Stauffer. Furthermore, there is no 
top border line, the right and left border lines hanging 
in the air, so to speak, just below the plate-mark. This 
present print may be similar to the one described by 
Andrews (p. 114); the latter, however, has the let- 
tering of the original above. 


George H. Sargent, in an article on ‘‘Paul Revere’s 
‘Boston Massacre’ ’’, in “‘Antiques,’’ March, 1927, says 
that the copper plate of this engraving, without the 
inscription, is in the possession of the State of Massa- 
chusetts. About the time of the Centennial Celebra- 
tion of the battles of Lexington and Concord, some 
one struck off several impressions on old _ paper. 
‘“When these restrikes were discovered, the authorities 
recalled the plate, scratched its face and placed it in 
the vaults of the State Treasurer.’’ Sargent describes 
also nineteenth century imitations of this engraving. 
All of this had appeared previously in Wm. Loring 
Andrews’s “Paul Revere and his Engraving’? (New 
York, 1901), with the added statement that there are 
other versions of the manner in which the restrikes 
from the original plate were taken. Andrews tells us 
also that the plate had been ‘“‘unskillfully retouched, 
apparently by another hand’’ than Revere’s. A num- 
ber of pages in this same book are given to descriptions 
of various copies and reproductions of this Massacre 
print. 


The numerous reproductions of this famous print 
have made it more or less familiar to many. A re- 
engraving by Sidney L. Smith was published in Boston 
in 1908. 


As to Henry Pelham’s protests that Revere had 
copied his design in this print see Stauffer 1: 205-206, 
and Louise P. Kellogg’s ‘‘The Paul Revere Print of 
the Boston Massacre,’’ in the ‘‘Print Connoisseur,’’ 
Oct., 1926. The American Antiquarian Society pos- 
sesses the only known impression of Pelham’s print 
of the massacre, which Revere quite evidently copied. 
(For Pelham, see also ‘‘Early Views,’’ no. 96.) At 
the Century_ Association, New York, there was _ ex- 
hibited, in Jan., 1928, a portrait of John Cushing, 
painted by Henry Pelham (1749-1806). 


The whole matter of this Pelham affair, and of 
Revere’s engraved work in general, has been thor- 
oughly gone into by Mr. C. S. Brigham, of the Ameri- 
can Antiquarian Society, in an address delivered be- 
aes Society in October, 1927, soon to be pub- 
ished. 


Revere’s speed in getting out this print soon after 
the event depicted is really worth noting. It is more 
remarkable even —considering the slower process 
used (copper engraving vs. lithography) — than the 
filing of copyright by Currier & Ives within four days 
after a great fire in New York City, many years 
later. 

Other prints by Revere, such as the portrait of 
Church, indicate a tendency to adapt the designs of 
others. Also, various historical scenes and caricatures 
of the Revolution prove his readiness to serve quickly 
what was likely to be wanted. 


8 THE NEW YORK PUBLIC LIBRARY 


Jonathan Mayhew. The Revd. Jonathan 
Mayhew. D.D. / Pastor of the West Church. 
Boston. N. E. / Obt. July 9th. 1766. Et. 46. 
Line. Stauffer 2670. 


Stauffer said: ‘Reported portrait, not seen.’’ Later, 
the impression here shown was found in the Library’s 
collection. 


This is Revere’s earliest recorded engraving. 


tT Boston. North Battery. P. Revere Sculp 
/ ... Line. Stauffer 2679. 


“Heading of a certificate of an enlisted Montross, 
or gunner’s aid.”? — Stauffer. 

+ The Gerbua. Vol. 1 Engrav’d for Royal 
American Mage No XVI, / P. Revere Sc / 
The Gerbua or Yerboa / (November, 1774) 
Line. 5.14 x 3.8. Line. Stauffer 2687. 


+ Book plate: Paul Revere. Paul Revere. 
Line. 

Revere engraved three quite different book plates 
for himself. Of the first (armorial), only one im- 
pression is known — that in the American Antiquarian 
Society. Of the second, two impressions are known; 
of the third, three, including the one here shown. 


HIter, J., Jr: 


“A close copy of the Joseph Wright etching of. 


Washington (Hart 140) [shown in ‘wall case 5] is 
signed J. Hiller Ju’r Sculp. 1794, This Hiller portrait 
has only appeared on the back of playing cards... 
It is possible that this...was Joseph Hiller, Jr., son 
of Major Joseph Hiller...1777-1795. If these dates 
are correct he would only have been about seventeen 
years of age at the time the portrait was produced.” 
— Stauffer. 

f John Hancock. Jos. Hiller fecit. ,In pencil 
“A.D. 1775”; / The Honble John Hancock 
Esqr. / President of the Continental Con- 
gress. Mezzotint, after Copley. In color. 
Stauffer-Fielding 698. 


Very rare. 


SPARROW, T.: 


Worked in Annapolis between 1765 and 1780. He 
engraved some plates on copper, but was, as Stauffer 
says, “‘largely a wood-engraver, and thus made book- 
plates, head- and tail-pieces, bill-heads, etc.” 


Maryland Paper Money: 


Four Dollar Bill. Annapolis, March 1, 1770. 
T. Sparrow. sculpt 


Six Dollar Bill. Annapolis, April 10, 1774. 
IG, Printer. T. Sparrow sculpt 


Two-thirds of a Dollar. Annapolis, April 
10, T. S in two places. Stauffer 2998. 


See also, for earlier paper money (1690 and after) 


Floor Case B. 
Wall Case 4 
NorMAN, JoHN, died June 8, 1817, “aged 69 
years :” 


Like some other engravers, Norman advertised his 
readiness to engage in all sorts of work, his adver- 
tisement ending “with many other things too tedious 
_ to mention.” In addition, he ran a drawing school, 
sold prints —a natural business for an engraver — 
and eventually seems to have gone into publishing 
books. Moreover, his advertisement in 1774, appar- 
ently soon after his arrival in this country from Eng- 
land, has an N. B.: “Booksellers, in any part of 
America, may be supplied with frontispieces of any 


kind, as reasonable as in England.” He engraved a 
number of frontispieces and other plates for books. 


Stauffer ends his account thus: “His chief claim 
to fame is the fact that he was probably the first 
engraver in America to attempt a portrait of Wash- 


ington, about 1779.” 


* John Hancock. His Excy John Hancock, 
Esq; / Late President of the American Con- 
gress [| J. Norman Sculp. / Line. Stauffer 
eee First two letters of inscription torn off 
at left. 


From the “‘Impartial History of the War in Amer- 
ica,” Boston, v. 1, 1781. 


Richard Montgomery. ;Major, Gen! Rich- 
ard Montgomery / pSlain in Storming Quebec 
Deychr 31st 1775 [| J Norman Sc Line. Stauf- 
fer 2342. Bracketed portions of inscription 
missing in this impression. The first line 
apparently re-engraved. 


+ George Washington. His Excellency — 
Gen! Washington. Line. Stauffer 2350; Hart 
42. 

Heading to “Philadelphia Almanack,” 1780. 

Only two other soeee impressions of this im- 
portant print are recorded. 

Battle of Bunker Hill. Painted by John 
Trumbull Esqr — Engraved by J. Norman / 
The Battle at Bunker's Hill, or the Death of 
General Warren Line. Stauffer 2359. 


“This print is engraved on two plates and printed 
separately; the pieces then being joined together.”? — 
Stauffer. 


CorpLey, JOHN SINGLETON, 1737-1815: 


ft William Welsteed. The Revd Mr. William 
Welsteed / of Boston in New England 4t. 
58 1753. / J:S:Copley pint et fecit. / Printed 
for & sold by Step» Whiting at ye Rose & 
Crown in Union Street Boston. Mezzotint. 
Stauffer 440. 
The only recorded mezzotint by this noted portrait 


painter. He was the stepson of Peter Pelham, from 
whom he probably received instruction in engraving. 


Wall Case 5 


SMITHER, JAMES: 


“This engraver in line, and in a somewhat peculiar 
stipple manner, first appears in this country in Phila- 
delphia in 1768.” He was accused in 1778 of high © 
treason, and left the city, but was engraving there 
again in 1786, and the name James Smither appears 
in the directories as late as 1824. ‘“Unfortunately,” 
continues Stauffer, ‘there was a James Smither, Jr., 
also an engraver, and the directories make no dis- 
tinction between the father and son.” 


According to Scharf and Westcott’s “History of 
Philadelphia,” v. 2, 1884, p. 1055, he “died in Phila- 
delphia after 1829, at an advanced age.” Joseph 
Jackson, in his ‘‘Market Street, Philadelphia” (1918), 
p. 39, says: ‘‘said to have died in 1800.” 


Besides the various activities cited in the case of 
other engravers in the present list, Smither’s adver- 
tisement states that “he ornaments guns and pistols.” 

tJohn Adams. Painted by Copley.—En- 
graved by J. Smither / John Adams, Presi- 
dent of the United States of America. 
Philadelphia, Publish’d Feby 15, 1797, by 
William Cobbett. Line. Stauffer 2971. 


Henry M. Muhlenberg. Heinr. Melch. 
Miihlenberg, der heil. Schrift Doctor / und 


ena 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 9 


des Evang. luth. Minist. Senior. / geb. d. 6 
Sept. 1711 gest. d. 7 Octob. 1787. Line. Stauf- 
fer 2980. 


Sunday School Society. Philadelphia. Cer- 
tificate. Smither Sculp Line. Stauffer 2988. 


Stauffer lists this from a certificate filled out 1791. 
The impression here shown was filled out 1810. 


Oxery, SAMUEL: 


_ Was engaged in London as a mezzotint engraver 
in 1765-67; in 1773-75 he was engraving and pub- 
lishing mezzotint portraits in Newport, R. I. 


See “Letters & Papers of John Singleton Copley and 
Henry Pelham’ (Massachusetts Historical Society 
Collections, v. 71, 1914). 


+ Thomas Hiscox. S. Okey Fecit /. The 
Revd Mr Thos Hiscox / late Pastor of the 
Baptist Church mn Westerly. taken from an 
Original / Picture Painted by Mr Feke / 
Published by Reak & Okey Printsellers & 
Stationers on the Parade Newport Rhode 
Island. / October 25 1773. Mezzotint. Stauf- 
fer 2371. 


Stauffer gives date as Oct. 28. 


GILMAN, JoHN Warp, 1741-1823: 


Engraved music and words, according to Stauffer, 
for ‘‘The American Harmony” by W. Tans’ur and 
A. Williams, Newbury-Port, 1771. Stauffer had only 
seen prints signed with initials, but the print here 
shown makes it pretty sure that he was right in his 
surmise that the engraver was John Ward Gilman, 
postmaster for forty years at Exeter. 


See also Floor Case E in the present exhibition. 


+ William Tans’ur. Man at table, writing. 
Border of words and music. Above, on ban- 
derole held by two cupids: Gloria in excelsis 
Deo. Below, on banderole: Mr. William. 
Tans'ur. Underneath, right: Engraved by 
John Ward Gilman. Exeter 1767. 4.1 (with 
signature 4.7) x 5.12. 


Coram, T.: 


Was living in 1802, says Stauffer, since his name 
is signed to an engraving of the arms of South Caro- 
lina on a map of that state in John Drayton’s ‘‘History 
of South Carolina.” 


See also Floor Case B. 


+ Paper money. South Carolina No. / This 
Bill entitles the Bearer to Seventy Dollars / 
pee. 2c x 4.10. Line. 


“The signature 7. Coram Sc. is signed to a plate 
covering the entire back of a $70 bill of the State 
of South Carolina, dated Feb. 8, 1779. The design 
is well drawn and represents ‘Prometheus Bound’, 
but the engraving is poorly executed in line.’? — 
Stauffer 1:55. 


WricHT, JosEPpH, 1756-93: 


The son of Patience Wright, the modeler of heads 
in wax. His way in life led him from Bordentown, 
N. J., where he was born, to England, where, says 
Dunlap, he studied under Hoppner, to Paris, where 
he painted portraits, to New York City, and to Phila- 
delphia. In the last place, says Stauffer, he “painted 
portraits, modeled in clay, and practised die-sinking.” 
He was appointed die-sinker to the U. S. Mint shortly 
before his death, adds Stauffer. And in his portrait 
of Washington here shown he made his one known 
essay in etching and produced what is presumably the 
first ‘‘painter-etching”” made in this country. 


t George Washington. G. Washington. / 
J. Wright Pinxt & Ft Dry-point. Stauffer 
3418; Hart 138. 


The only known plate by this portrait painter; and 
the prototype of many later portraits.. For copy of 
this by J. Hiller, see Wall Case 3. 


POUPARD, JAMES: 
Worked about 1772-1814. 
See also ‘“‘Early Views,’’ no. 112. 


Oliver Goldsmith. Engraved for the Penn- 
sylvania Magazine. (1775) —To face page 
42. | Doctor Goldsmith.—Js Poupard scult 
Stipple. Stauffer 2551. 


GALLAUDET, ELISHA: 
Born about 1730; living in 1800. 


Stauffer notes that both Gallaudet and Michael de 
Bruls are named in an advertisement, 1759, of ‘“‘Six 
representations of warriors’? in the service of the 
Kings of Great Britain and Prussia. He was unable 
to identify these prints, but concludes from a later 
advertisement of the same year that the portraits 
“were actually produced in the Colony, and possibly 
engraved by de Bruls or Gallaudet, or both.’’ 


George Whitefield. On panel under oval, 
George Whitefield. M. A. / Elisha Gallaudet 
— Sculpt N York. 1774 Line. Stauffer 1025. 


From “Life of Whitefield,” by John Gillies (New 
York, 1774). Stauffer says that ‘‘besides some early 
book-plates’”” the only known engraving by Gallaudet 
is this portrait. He adds ‘‘This plate is very poorly 
engraved and is evidently a copy from an English 
print.”’ 


Book-plate: New York Society Library. 
New-York Society Library / E. Gallaudet. 


Sct In pen and ink, “1754.” Line. Stauffer 
1026. 


BARRALET, JOHN JAMES, 1747?-1815: 


Chiefly a designer, whose work was engraved by 
others. A few of his plates bear his signature both 
as designer and engraver. 


See also “‘Early Views,”’ no. 194. 


Alexandér Wilson. Drawn & Engraved by 
J.J. Barralet. / Alexander Wilson, / Author 
of the American Ornithology. / Native of 
Paisley Scotland died 1813 aged 45. / Entered 
according to Act of Congress the erased 
Novr 1814 by J. J. Barralet of the State of 
Pennsylvania. Stipple. Stauffer 119. 


CALLENDER, JOSEPH, 1751-1821: 

“His chief occupation,” says Stauffer, ‘‘seemed to 
be the engraving of book-plates, bill-heads, and work 
of a similar character.” 

+ Book plate: Mass. Medical Society. The / 
Property / Of The / Massachusetts / Medical 
Society / Ex Dono / Callender Sp. Line. 


+ The Night Scene. Vol: I. No IV / J. Cal- 
lender Sct / The Night Scene. Line. Stauffer 
296. 

From “‘The Royal American Magazine,” Feb., 1774. 


+ Notice. The Fire Society, Boston. Boston 
tNov. 28, 1796;./ Sir / The Fire Society of 
which you are a Member, meets at ,Concert 
Hall; on Thursy / Evening next, precisely at 
(6; o’ Clock when you are / desired to give 
your punctual Attendance / To ,Ebenr Han- 
cock Esq. S. H (?) Capen, Clk ;pro tem. 


10 THE NEW YORK PUBLIC LIBRARY 


United 8th March 1741. / Callender s¢. 3.14 x 
5.8. Line. 


Such certificates, bill heads, business cards, and 
the like obviously not only illustrate the varied ac- 
tivity of the early engravers, but they are interesting, 
sometimes amusing, sometimes distinctly significant, 
documents toward the social history of the American 
people. 

+ Book plate: Thomas Jenings. Thomas Jen- 
ings Esq. Line. 


Wall Case 6 


TIEBOUT, CORNELIUS: 


Worked during 1789-1825. ‘‘The first American- 
born professional engraver to produce really meri- 
torious work.’ — Stauffer. 


See also “Early Views,” nos. 78, 108. 


+ Robert Burns. Robert Burns. / C. Tiebout 
Sc. Stipple. Stauffer 3166. 


+ John Philpot Curran. John Philpot Curran. 

/ The Irish Orator. / C. Tiebout Sc. / Pub- 
lished by G. Douglas Baltimore. Stipple. 
Stauffer 3168. 


Thomas Jefferson. Tiebout sc. / Thomas 
Jefferson, {| Vice President of the U. S. / 
Published by D. Kennedy N° 228, Market St 
Stipple. Stauffer 3180, first state. 


William White. G. Stuart, Pinxit. — C. Tie- 
bout, Sculpsit. / The Right Reverend William 
White, D. D. / Bishop of the Protestant Epis- 
copal Church in the State of Pennsylvania. / 
Engraved from the Original Picture Painted 
by G. Stuart, in the Possession of Mr Thomas 
H. White. / Published 1st Jany 1805, by Ben- 
jamin Tanner Engraver No 74 South Eighth 
Street, Philadelphia... Stipple. Stauffer 
3199. 


Wall Case 7 


TIEBOUT, CORNELIUS: 


John Jay. John Jay. / Painted by Gabriel 
rcorrectly Gilbert; Stuart — Engraved by 
Cornelius Tiebout / London Published as the 
Act directs by C. Tiebout, No: 16 Duke: St 
Portland’ Chapel, Ap! Ist 1795. Stipple. 
Stauffer 3179. 

“This is probably the first really good portrait 
engraved by an American-born professional engraver; 


the mezzotint work of the artists Peale and Savage 
not properly coming under this category.’’ — Stauffer. 

Tiebout went to London in 1793, studied stipple 
engraving and published some plates there, and was 
again in New York in November, 1796. During 1799- 
1825 he ‘‘conducted an extensive business as an 
engraver” in Philadelphia, lost his considerable profits 
in some speculation, and died in Kentucky. 


Cottage Scene. W. Bigg Pinxt—C. Tie- 
bout Sculpt / Cottage Scene. Stipple. Stauf- 
fer 3207. 


This, and the following item, are interesting as 
early examples of reproductive engraving by American 
artists, and as applications of the stipple process 
to such work. One recalls also Tiebout’s “The Cas- 
cade, Luzerne Co., Pa.,” as an early landscape print. 


ft Hope. J. Reynolds —Tiebout sc. / Hope. 
Stipple. In color. 5.8 x 3.15. 


Plan of New York. Plan of the City of 
New York. / Tiebout Sculpt. Line. Stauffer 
3222. 


This appears in the New York City directory for 
1791-95. It is very similar to the plan (Stauffer 
3221) published in the directory for 1789. The latter, 
however, has a border of two lines instead of one, 
it has references 1-37 and 1-7 while the later one 
has 1-38, the star at the right has its points shaded 
on the left instead of on the right, and there are 
other differences. Furthermore, the inscription be- 
low, in the 1789 plan, is: left —JZ. M. Comb Junr. 
Delt.; right — Tiebout Sculpt. 1789. And upper Broad- 
way is lettered Great George St., which designation it 
retains also in the later plan, until the issue in the 
1794 directory, when it becomes Broad Way. These 
facts were brought out by making up, by comparison, 
a complete set of these volumes of the Gireceary from 
copies in The New York Public Library and the 
New York Historical Society. The examination was 
made by Dr. Wilberforce Eames, who finds also that 
there are two fac-similes of Tiebout’s plan, from two 
different lithographic stones, one with for D. T. Valen- 
tine’s Manual 1857, the other without. Both bear the 
inscription From the original Copy published 1789. 
Both are from the 1791 map, not from that of 1789. 


Title-page, Columbian Library. Over: The 
/ Columbian Library / containing a / Classi- 
cal Selection / of / British Literature. / Vol 
1. / Milns scripsit.—W. Harrison Sc. With- 
in oval: The Well-Bred Scholar. Below: - 
Tisdale del. —C. Tiebout sculp. / New York. 
/ Printed & Published by W. Milns Ne 29 
Gold St. 1797. / Line. Stauffer-Fielding 1677. 


Wall Case 8 


Maverick, Peter, 1760-1831: 


Son and pupil of Peter Rushton Maverick, From 
New York he went to Newark, N j.; there A, B. 
Durand was apprenticed to him. This relation later 
developed into a business partnership. Returning to 
New York, Maverick conducted a large business in 
engraving and copper-plate printing, later going also 
into lithography. (See his business card, shown in 
this Case.) He was one of the founders of the 
National Academy of Design, a number of engravers 
being members of that body in the early days. 

As in the case of certain French families of en- 
gravers in the eighteenth century, the Mavericks were 
identified with the art to quite an extent. Peter’s 
daughters Maria A. and Emily raved in stipple; 


his wife Ann, daughter of Alexander Anderson, fol- 


lowed_her father’s vocation as a wood engraver; his 
son, Peter Jr., was listed in the directory as ‘‘en- 
graver and lithographer.”” His father has already 
been referred to. There was a Samuel Maverick (see 
Wall Case 32) who engraved and printed. All this 
from Stauffer. The Mavericks are also dealt with on 
p. 173-175 of W. H. Sumner’s “History of East 
Boston,”’ Boston, 1858. 


For other prints by Peter Maverick see also “Early 
Views,” nos. 118, 150 


Berthier, Canada. Drawn by Alexr Robert- 
son.— Engraved by P. Maverick, N. Y. / 
Near Berthier on the St Lawrence. Line. 
Stauffer 2236. 


Genius of Penmanship. Drawn by Archd 
Robertson. — Engraved by Peter Maverick. / 
The Genius of Penmanship A offering her aid 
to Science & Commerce. / two lines. Line. 
Stauffer 2241. 


Fireman’s Certificate, New York City. En- 
graved by Peter Maverick from a Drawing by 


ENGRAVED BY CORNELIUS TIEBOUT 
AFTER PAINTING BY GILBERT STUART 


ao afyputntid, L 


ce 
Vorneainer 


City oF 


. BY wet 


FIREMAN’S CERTIFICATE, NEW YORK CITY 
ENGRAVED BY PETER MAVERICK 
FROM A DRAWING BY ARCHIBALD ROBERTSON 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 11 


Archibald Robertson. / March. 1807. Line. 
In color. Stauffer 2257. 


“Certificate of the Voluntary Aid Company, No. 
—.” — Stauffer. 


Such early firemen’s certificates, with their fre- 
quent pictorial details of uniforms and apparatus, 
obviously form valuable material for the history of 
organized fire-fighting in this country. In the list of 
prints of New York City alone, those relating to fire- 
men form an interesting group, especially if the sep- 
arate prints are supplemented with the illustrations 
in the weeklies of the Eighteen-Fifties and Sixties. 


_..This application of the engraver’s art to these cer- 
tificates may recall to some the fact that more than 
one among our earlier painters decorated fire-buckets 
as one way of keeping the pot boiling. 

Andrew Jackson. S. L. Waldo pinxt —P. 
Maverick sculpt / Maj. Gen. Andrew Jackson. 
/ Line. Stauffer 2208. Restrike. 


Business card. Offices for the doing of a 
general graphic business. / Engraving / .../ 
.../ Copper-plate printing /.../ Lithography 
/ three lines; / Bank Notes.../.../ at Peter 
Maverick’s Establishment / Broadway no. 
149, New York / ;two lines). / Line. 8.9 x 11.5. 


MAVERICK, PETER RusutTon, 1755-1811: 


In 1786 he announces that he ‘‘carries on engrav- 
ing, seal-sinking and copper plate printing at No. 3 
Crown Street, where ladies may have their tea-table 
ware engraved in the most elegant manner.” Stauffer 
notes that, as in the case of other early American 
engravers, “the engraving of silver-plate and book- 
plates formed the major part of his business.” 

+ Book plate: Maturin Livingston. Maverick 


— Sculpt / Maturin Livingston Line. 


+ Book plate: New York Society Library. 
Rectangle. New York Society Library. / 
Eng4. by P. R. Maverick 65, Liberty Street. 
Line. 5.8 x 3.11. Stauffer-Fielding 1050. 


Wall Case 9 


MAVERICK, PETER RusHToN, 1755-1811: 


+ Book plate: New York Society Library. 
Oval, with leaf border. New York Society / 
Library / 1789 / Maverick Sct. Crown Street. 
Line. $.6 x 3,12: 


Voltaire. Over: The / Philosophical / Dic- 
tionary, / For the Pocket / Translated from 
the French Edition / Corrected by the 

Author. / Under: Engraved by P. R. Mave- 
rick 65 Liberty Street N-Y. / Catskill, / 
Printed by T. & M. Croswel / for selves and 
J. Fellows & / E. Duyckinck, New York. / 
4/796 Line. Stauffer 2261. 


Ruth. Over: Engraved for the American 
Edition of Brown’s Family Bible. Under: 
Ruth / Chap. II. Ver. 5. /.../.../ Maverick 
Sculpt Line. Stauffer 2266. 


PEALE, CHARLES WILLSON, 1741-1827 - 


A man of many activities and interests. He painted, 
modeled in wax, took one in the Revolution, went 
into politics, interested himself in natural history and 
anied a museum, and tried his hand at dentistry. 
In between times, he engraved a few good mezzotint 
plates. 


Joseph Pilmore. ,;The Reverend Joseph 
Pilmore, Rector Of The United Churches Of 


Trinity, St Thomas And All Saints. /; painted 
& Engraved by C. W. Peale 1787. Mezzotint. 
Stauffer 2425. Trimmed to oval, taking off 
portion of inscription in brackets. 


Peale’s most important engravings were similar 
oval portraits of Washington and Franklin. 


TRENCHARD, JAMES: 


Worked in Philadelphia, 1777 to 1793, when he 
went to England. ‘‘Engraver and seal-cutter’’ says 
Stauffer, and ‘“‘the artistic member of the firm that 
established the ‘Columbian Magazine.’ ”’ 


t Columb. Mag. / General Washington. / 
J. Trenchard sctt Line. Stauffer 3277; Hart 
839. 


+ Harvard College. Cver: Columb. Mag. 
Under: View of the ancient Buildings be- 
longing to Harvard-College, Cambridge, New 
England. Line. 3.4 x 5.12. 


+ Book plate: Bloomfield. ...Bloomfield / 
J. Trenchard Sculp. Line. 


RoMANS, BERNARD, 1720?-1784: 


Born in Holland; died at sea. Stauffer lists him 
as surveyor, engineer, botanist, explorer, engraver, 
draughtsman, soldier, and planner and constructor of 
fortifications. One thinks of the many-sidedness of 
the Italian Renaissance artists. The New York Mer- 
cury of 1775 referred to him as “the most skillful 
Draughtsman in all America,” a statement interesting 
in its bee implication of a wide choice. He served 
a timely need by promptly issuing in 1775 a war map 
and a view of the Battle of Charlestown (Bunker 
Hill), which latter was re-engraved by Robert Aitken. 
He also went into authorship, as appears' from ‘‘Notes 
on the Life and Works of Bernard Romans,” by P. 
Lee Phillips (issued by Florida State Historical So- 
ciety, 1924). 


See also “Early Views,” nos. 79, 92. 


+ Map of the world, showing Longitude East 
and West from London. Under: Protracted 
by B. Romans Line. 6.6 x 17.4. 

From John Hawkesworth’s ‘‘A new voyage round 


the world in 1768-71, performed by James Cook,” 
vol. 1, New York, 1774. 


THACKARA, JAMES, 1767-1848 : 


From Stauffer one gleans that he was apprenticed 
to James Trenchard, was in partnership with John 
Vallance in 1794, and with his own son William W., 
in 1832, that he published in 1814 ‘‘Thackara’s Draw- 
ing Book, for the Amusement and Instruction of 
Young Ladies and Gentlemen,’? and was, for some 
time after 1826, keeper of the Pennsylvania Academy 
of Fine Arts. 


Swedish merchant ship. Engrav’d & Pub- 
lished by J. Thackara & Son Philadt / A 
Swedish merchant ship going about under 
a reefed topsails. Line. Stauffer-Fielding 
1573; 


THACKARA ¢ VALLANCE: 


See also ‘“‘Early Views,”’ no. 116. 
For John Vallance, see Wall Case 11. 


Benjamin Franklin. Engraved by Thackara 
& Vallance Philad¢ 1794. / Benj. Franklin, 
LL.D. Line. Stauffer 3146. 


Carpenters Company of Philadelphia. J. 
Thackara fecit. Line. Stauffer 3149. 


Heading to certificate of membership. 


12 


Wall Case 10 
HAMLIN, WILLIAM, 1772-1869: 


Hamlin, a maker of nautical instruments, shared 
with some other early American engravers the distinc- 
tion of being self-taught and of having had to. make 
his engraving tools himself. The results, as in his 
portrait of Washington, are sufficient proof of limited 
opportunities. But the interest of the contemporary 
document remains, and is strong. 

+ George Washington. E. Savage pinxet — 
Wm Hamlin. Sculp. Providence. / George 
Washington Esqr / Obt Dechr 14th 1779, AE 
68. Mezzotint. Stauffer 1239; Hart 231. 


Houston, H.: 

An early stipple engraver in the United States, 
whom Stauffer traces from 1796 to 1798. 

John Adams. Drawn & Engrav’d by H. 
Houston. / His Excellency John Adams Pres- 
ident / of the United States of America. / 
Respectfully Dedicated to the Lovers of their 
Country / and Firm Supporters of its Consti- 
tution / Published by D. Kennedy 228 Market 
St. Philada. Stipple. Stauffer 1454. 


Hitt, SAMUEL: 
Was working during 1789-1803. 
See also “Early Views,” Flat Case no. 2, item B. 


+ George Washington. Engraved by S. Hill. 

/ George Washington, / President of the 
United States of / America. Line. Stauffer 
1382; Hart 216: 


Washington was naturally a popular subject, and 
many American engravers tried their hand at him. 
An exhibition such as the present one will naturally 
have a fair admixture of Washington portraits. 

f Federal Edifice, New York. Over: No. VI. 

Engraved for the Massachusetts Magazine, 
June 1789. Vol. I, Under: S. Hill Sculpt / 
View. of the Federal Edifice in New York. 
Line. Stauffer 1403. 


t Certificate. Massachusetts Mechanic As- 
sociation. This certifies, That / (Mr. Charles 
Wells; of ;Boston; / (Bricklayer; was ad- 
mitted a Member of the / Massachusetts 
Mechanic Association; (18 March 1818, / In- 
stituted March 15, 1795 / In Testimony 
whereof the Seal of the / Association ts 
affixed. / (Benjn. Russell; Presidt / Attest, 
(David Francis; Sec’ry. / (John Cotton, Vice 
Presidt. / Saml. Hill Sc. Line. 8.12 x 10.3. 


Material in brackets is added on the certificate in 
pen-and-ink. 


Dun ap, WILLIAM, 1766-1839: 


Painter, dramatist, theatrical manager, and author 
of various books, including “History of the... Arts 
of Design in the United States” (New York, 1834). 
This book, the first on the subject, was written at a 
quite early period in our artistic development by one 
whose lifetime covered much of the pioneer period. 
Itself a pioneer effort, of great documentary value, 
it has flashes of personality, prejudice and adverse 
comment that add a quite particular fillip to the re- 
cital of biographical and historical data. 


Mr, Wignell. Over: Darby’s Return / page 
I3 after the 9th line from the top read. / 
There, Lads and little Lasses sweet as honey, 
/ Marry for Love, and never think of money: 


THE NEW YORK PUBLIC LIBRARY 


Below: Wm Dunlap del et fect / Mr Wignell 
in the Character of Darby. / There, Father 
Luke! one sheep’s as good as two. / Nor 
need I count my turkey’s when I woo.— 
Dry-point. Stauffer 550. 


This is probably the frontispiece for a “dramatic 
trifle’ which Dunlap says he engraved in Peter R. 
Maverick’s shop about 1787. 


TISDALE, ELKANAH: 
Born about 1771; was living in 1834. 


“A better designer than engraver,” says Stauffer, 
who informs us that he designed and engraved plates 
*for S. F. Goodrich in Hartford, Conn., in whic city 
he was apparently located during the first quarter 
of the nineteenth century. 


See also “Early Views,” no. 78. 


+ William Penn. Tisdale sct / Willm Penn. 
Line. Stauffer 3255. 


+ George Washington. Tisdale Sc. / Gent 
Washington. / Engrav’d for C. Smith N- 
York. Line. Stauffer 3257; Hart 248. 

Under the portrait is a depiction of Washington 
taking command of the American forces at Cambridge, 
July 3, 1776 —an early historical print (1797). 

+ The Yankee Chase. Over: P. 44 Under: 
Tisdale fecit. / The Yanky Chace. Line. 
Stauffer 3266. 


One of the illustrations to Trumbull’s ““McFingal”’ 
(1795). 


Reep, ABNER, 1771-1866: 


Worked in New York and Hartford. A sti ae 
engraver of portraits who is said to have taught i n 
Cheney and other engravers. When Stauffer wrote 
that Reed was “‘one of the earliest bank-note engravers 
in this country,” he was speaking, of course, of en- 
gravers on copper and steel who developed the en- 
graving of notes in the nineteenth century, not of 
the earlier engravers on wood or type metal, such as 
Sparrow (see Wall Case 3). 


Jonathan Edwards. Drawn & Engraved by 
A. Reed, from an Original Portrait by Moul- 
trop. / Rev. Jonathan Edwards, D. D. / Presi- 
ae of Union College. Stipple. Stauffer 
2650. 


Wall Case 11 


ALLARDICE, SAMUEL, died 1798: 


The name of this artist is spelled Allardice in 
Dunlap (the new three volume edition), and on all 
the prints here shown. It appears as Allerdice in 
Stauffer, Stauffer-Fielding, and in Thieme-Becker. 


“The firm of Scot and Allerdice made a large 
number of the plates for Dobson’s edition of Rees’ 
Encyclopedia, Philadelphia, 1794-1803.” — Stauffer. 


George I. George 1st / S. Allardice sct / 


R. Campbell & Cos Edition of the History of 
England. Line. Stauffer 42. . 


t Book plate: Library Company of Balti- 
more. The / Library / Company of / Balti- 
more. / S. Allardice Phi. 


FIELD, Rosert: 


Born in England, came to New York in 1793, later 
went to Halifax, and died in Jamaica, 1819. 


“While in the United States,” says Stauffer, “he 
engraved in stipple, and in a pleasing manner...but 
he was chiefly occupied in painting miniatures.” 

+ Thomas Jefferson. G. Stuart, Pinxit / R. 
Field, Sculpsit. / Thomas Jefferson. / Bos- 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 13 


ton, Published by Robert Field, March 14th 
1807. Stipple. Stauffer 1001. Inscription 
trimmed off. 


ScoLes, JOHN: 


“Located in New York, 1793-1844... He engraved 
many of the views appearing in the ‘New York 
Magazine’ in 1793-96. At times Scoles united book- 
selling with engraving, according to the directories.” 
— Stauffer. 


+ Rowland Hill. Scoles sculp. / Revd R. 
Hill, A.M. Stipple. Stauffer 2785. 


+ George Washington. J. Scoles, del et sculp. 

George Washington, / President of the 
United States of America. / Publish’d by 
Smith, Reed and Wayland. Line. Stauffer 
2809; Hart 233. 


George Washington and John Adams. The 
Portraits of / George Washington & John 
Adams. / Scoles sculp. Line. Stauffer 2813. 


‘Profiles of Washington and Adams in the outlining 
of an apple-tree.’”’ — Stauffer. 


John Wesley. Scoles sculp. / Yours most 
affectionately / J. Wesley ;two lines in fac- 
simile of autograph). Stipple. Stauffer 2815. 


+ St. Paul’s Church, N. Y. J. Anderson del. 
— Scoles sculp. A View of St. Paul's 
Church, New York. Line. Stauffer 2848. 

From ‘‘New York Magazine,’’ Oct., 1795. A fac- 


simile of this engraving was issued by the Society of 
Iconophiles. 


+ Frontispiece. Minerva and two females. 
Engraved by I. Scoles / Frontispiece. Line. 
Stauffer-Fielding 1335. 


Plates such as ““Ohiophyle Falls’? (1796) by Scoles, 


or ‘‘The Cascade,” by Tiebout, have a certain in- 


terest as early engravings of natural scenery. 


VALLANCE, JOHN: 

Died 1823, ‘“‘in the 53rd year of his age.” 

Vallance did numerous encyclopedia plates, which 
activity he shared with many other American en- 
gravers in the early years of the nineteenth century. 

See also “‘Early Views,” no. 116. ; 

For Thackara & Vallance see Wall Case 9. 


Hugh Blair. J. Vallance Sc. / Hugh Blair, 
D.D. / Published by Hickman & Hazzard 
Stipple. Stauffer 3339. 


“The best example of his work seen; it is a good 
engraving.” — Stauffer. 


Wall Case 12 
SAVAGE, Epwarp, 1761-1817: 


Stauffer notes that Savage was not only a portrait 
painter and engraver in stipple and mezzotint, but 
also that “in 1795 he exhibited the first panorama 
ever seen in” Philadelphia. He also published prints, 
among them “Eruption of Mount Etna” and ‘“Mu- 
scipula,” after Reynolds. The first is one of the rare 
early landscape pieces in American engraving — 
doubly rare in the specialty of mezzotint — the sec- 
ond is an early example of reproductive engraving in 
this country. 


+ George Washington. Painted & Engraved 
by E. Savage. / George Washington, Esqr / 
President of the United States of America. / 
From the Original Picture Painted in 1790 
for the / Philosophical Chamber, at the Uni- 
versity of Cambridge, / In Massachusetts. / 


Publishd Feby 7, 1792 by E. Savage, N° 29 
Charles Street, Midd* Hospital Stipple. 
Stauffer 2753, first state. All but first two 
lines of inscription trimmed off. 

See also Savage’s portrait of Washington, engraved 


by Rollinson, in Wall Case 19; engraved by Tanner, 
in case 22, 


George Washington. Painted & Engrav'd 
by E: Savage. / The Washington Family. / 
George Washington his Lady, and her two 
Grandchildren by the name of Custis. ,Title 
also in French. /... Philadelphia. Publish’d 
March 10th 1798. by E: Savage & Robt Wilk- 
inson No 58 Cornhill London. Stipple. Stauf- 
fer 2754; Hart 235. 


Declaration of Independence. ;No inscrip- 
tion.; Unfinished engraver’s proof of en- 
graving after the painting begun by R. E. 
Pine and finished by Savage. Mixed. Stauf- 
fer 2759. Late impression. 


As to the painting, see Charles Henry Hart’s ‘“‘The 
Congress voting Independence,” in the ‘“‘Pennsylvania 
Magazine of History and Biography,” v. 29, Jan., 
1905. The article is accompanied by a half-tone re- 
production of the painting, owned by the Historical 
Society of Pennsylvania, after having hung in the 
old Boston Museum until 1892. 

For information regarding the engraving see C. H. 
Hart’s “‘Edward Savage, painter and engraver and 
his unfinished copper-plate of ‘The Congress voting 
Independence,’ ”’ in Proceedings of the Massachusetts 
Historical Society, Jan., 1905. In this same pub- 
lication Hart disposes of the story that Edwin en- 
graved the plates bearing Savage’s name. (See note 
under Edwin, Wall Case 15.) 

The original copper-plate of this engraving was 
presented to the Massachusetts Historical Society in 
gtd ae which time some impressions were printed 
rom it. 


Wall Case 13 


SavacE, Epwarp, 1761-1817: 


+ George Washington. E. Savage pins. et 
sculp. / George Washington Esq’ / President 
of the United States of America. / From the 
Original Portrait Painted at the request of 
the Corporation of the University of Cam- 
bridge in Massachusetts. / Published June 
25, 1793, by E. Savage. N° 54. Newman Street. 
Mezzotint. Stauffer 2752; Hart 228. 

Lent by Charles W. McAlIpin, Esq. 


SEYMOUR, JOSEPH H.: 


‘‘Seymour was in the employ of Isaiah Thomas, at 
Worcester, Mass., as early as 1791. The Bible pub- 
lished by Thomas in that year contains thirty-two 
plates by Seymour...and in the printer’s advertise- 
ment Thomas writes: ‘These plates were engraved... 
in this town in 1791...and the Editor doubts not but 
a proper allowance will be made for work engraved 
by an Artist who obtained his knowledge in this coun- 
try, compared with that done by European Engravers 
who have settled in the United States’... From 1803 
until 1822 the directories of Philadelphia locate him 
in that city, where he did much work for the en- 
cyclopedia published by S. F. Bradford.’’ — Stauffer. 


+ John Hancock. Seymour delin. sculp. / His 
Excellency John Hancock Esqr / late Gover- 
nor and Commander in Chief / of the / 
Commonwealth of Massachusetts. 1794. Line. 
Stauffer 2871. 


“His one ambitious portrait plate...published in 
January, 1794, at the office of the ‘Worcester Ga- 
zette’, and sold for ‘7 s. 6 d. each copy.’ ”” — Stauffer. 


14 THE NEW YORK PUBLIC LIBRARY 


SEYMOUR, SAMUEL: 


“An engraver of portraits, etc., located in Phila- 
delphia in 1797-1822. In 1823, as a draftsman, he 
accompanied Major Stephen H. Long on his exploring 
expedition into the Yellowstone region, and nothing 
later is known of him.” — Stauffer. 


See also ‘“‘Early Views,” nos. 119, 121, 175. 


ft Oliver Goldsmith. Davies & Morgan’s 

Edition Of Select British Classics. / S. Sey- 
mour Sc. / Dr Goldsmith. Stipple. Stauffer 
2874. Inscription above trimmed off. 


t George Washington. S. Seymour Fecit. / 
In Memory of Gen! George Washington and 
his Lady / Philad¢ Jan. 1. 1804. Published by 
J. Savage according to Law. Stipple. In 
color. Stauffer 2878; Hart 246. Trimmed 
close; first line of inscription missing. 


t+ The Fandango. S. Seymour sc. / The Fan- 
dango. Line. Stauffer 2892. 


“From Pinkerton’s ‘Voyages,’ Philadelphia, 1810- 
12.” — Stauffer. 

Book illustration forms an interesting specialty in 
these early engravings. Much of it consisted of re- 
engravings of British designs. 


Wall Case 14 


Saint MEmIN, CHARLES BALTHASAR JULIEN 
FEvretT DE, 1770-1852: 


Born in France; came to Canada 1793, and soon 
after to New York; returned to France, 1810; re- 
turned to the United States, 1812; returned again to 
France 1814; director of the museum in his native 
city of Dijon from 1817 until his death. 


“He introduced here the engraving of portraits by 
means of the ‘physionotrace’. invented by Edme Quene- 
day, of Paris... With it he made on a tinted paper 
a profile a little less than life size. With this as a guide 
he used a pantograph to still further reduce the 
profile, so that it would go inside a circle of about 
two inches diameter, faintly scratching the reduced 
drawing directly on the copperplate. This copper was 
now etched and finished in aquatint, with some 
assistance with the roulette... For the original crayon 
...for the plate, and twelve impressions from the 
plate, St. Mémin charged $33.” — Stauffer. 


See also ‘Early Views,” no. 104, 105, 151, 181. 


+ Thomas Jefferson. St. Mn. ft. E. Dexter, 
The St.-Mémin Collection... New York, 
1862, no. 10. 


Davis Old. Drawn & engrd by St. Memin 
Philada. Dexter 164. 


Simon Chaudron. Drawn & engrd. by St. 
Memin Philada. “Simon Chaudron horloger / 
grivoisie Philadelphie” in ink. Dexter 235. 


Dr. J. A. Monges. Drawn & engrd. by St. 
Memin. Philada. “médecin” in ink, Dexter 
238. ; 


Loup. Drawn & engrd. by St. Memin. 
“Loup négotiant. / Grivoisie Philadelphie” in 
ink. Dexter 264. 

The preceding five portraits are all executed in the 


mixed process (aquatint, etc.) described above, and are 
each in a circle of 2.4 inches diameter. 


An amusing sidelight on the word “grivoisie,” 
written on two of these prints, is furnished by the 
portrait of Fazi in the Library’s St. Mémin collection, 
on which is written in ink, in the same hand, “Société 
de la Grivoisie.”” The tracing of the records of this 
band of convivial spirits —to judge by the name — 
we leave to others. 


+ Card of Peter Mourgeon. Peter Mourgeon 
/ Copperplate printer / from Paris / No 11 
Fair Street / New York / St. Memin inv. et 
sc. Etching. Stauffer 2738. 


CALLENDER, BENJAMIN, 1773-1856: 


Born in Boston, died in Northfield, Mass. Nephew 
of Joseph Callender. Noted in the “History of North- 
field” as ‘‘merchant and engraver.” All this from 
Stauffer, who adds that Callender engraved mainly 
maps and charts, which he produced as early as 1796 
for Boston publishers. 


Map. Boston, 1789? A Correct Map of the 
/ Georgia / Western Territory / Engraved 
for Morse’s American Gazetteer. Callender 
Sc. Line. Stauffer 286. 

From Jedidiah Morse’s “American Gazetteer,” Bos- 
ton, 1797. , 


Stauffer notes that Callender did maps also for the 
“Naval Gazetteer’ (Boston, 1797) and Malham’s 
“‘Naval Gazetteer.” 

The shifting theatre of war during the Revolution 
and the growth of the country offered various reasons 
for a demand for maps. Thus was added another 
opportunity for the engravers to turn an honest penny 
a and to add to our graphic materials for American 

istory. 


ANDERSON, ALEXANDER, 1775-1870: 


Originally a copper-plate engraver, Anderson later 
turned to wood engraving, in which medium he was 
the first to produce noteworthy work in this country. 


See also “Early Views,” Flat Case 2, no. K. 


+t Ahab in Naboth’s Vineyard. Corbould del. 
— A. Anderson Sc. / Ahab in Naboth’s Vine- 
yard. / C. 21. V. 17. / I. Kings. Line. Stauf- 
fer-Fielding 35. 
The name of a British designer on this and other 
plates in this exhibition emphasizes a fact of frequent 


occurrence in American book illustration of the early 
nineteenth century. 


Faustulus. Over: Rome. Below: Burney 


del. / Faustulus bringing the Twins Romulus 
& Remus to Acca Laurentia... Line. 


+ Garden of Eden. A Correct Map of the / 
Countries / surrounding the / Garden of 
Eden, / or / Paradise. / with / the Course of 
Noah’s Ark during the Flood, &c. / A. An- 
derson Sculp. Line. 11.6 x 6.11. 


Book plate: Columbia College. Columbia 
College Library New York tin circle. / An- 
derson Sculp. Line. 


+ Thomas Dilworth. Thos Dilworth / 
School Master. / Anderson F. Wood engrav- 
Ine OS 


Frontispiece to ‘The Schoolmaster’s Assistant, by 
Thomas Dilworth’ (New York, 1793), the printed 
title of which is here shown with the frontispiece 
portrait. 


Wall Case 15 


CLARKE, THOMAS: 


“Name...first appears in 1797, when he was en- 
graving...for the ‘American be eee Magazine’ of 
Philadelphia...and for an edition of ‘“Telemachus’ 
published by David Longworth, of New York. He 
was apparently in both cities in this year... Clarke 
was engraving in New York...as late as 1800; but 
Dunlap says that he went South about this time, 
became deranged, and then committed suicide.” — 
Stauffer. 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 15 


+ George Washington. T. Clarke Sculpt 
1801 Boston. / Sacred to the Memory of the 
Illustrious G. Washington. Stipple. Stauffer 
408, first state; Hart 279. 


TRENCHARD, E. C.: 

Stauffer found little definite about Trenchard, 
except that he engraved a plate issued in 1798, which 
is evidently the one here shown. But Stauffer-Fielding 
lists three others, two from ‘‘The World Displayed” 
(1795-96), and a bill-head, 1802. 


+ Count Benjamin Rumford. Drawn & En- 
graved by E. C. Trenchard / Benjamin Count 
of Rumford. / Published by D. West Boston. 
Stipple. Stauffer 3273. 


“Frontispiece to ‘Essays, etc.,’ by Benjamin Count 
de Rumford. Boston, March, 1798.” — Stauffer. 


GripLey, Enocu G.: 

Engraver in stipple and line, in business in New 
York, 1803-05; later, worked for Philadelphia pub- 
lishers. So Stauffer, who found dates on Gridley’s 
plates as late as 1818. 


+ George Washington. Sacred to the Mem- 
ory of the / truly Illustrious / George Wash- 
ington, Renowned in / War, Great in the 
Senate, and / possessed of every Qualifica- 
tion / to render him worthy the title of / a 
Great and Good Man. / Born Feb. 22. 1732. 
Ob. Dec. 14. 1799. / Painted by John Coles 
jun.—Eng@ by E. G. Gridley. Mixed. In 
color. Stauffer 1184, first state; Hart 221. 


Epwin, Davi, 1776-1841 : 


Born in England, died in Philadelphia. Ap- 

renticed to C. Josi, the Dutch engraver then in Eng- 
and, he went with him to Holland in 1796, and next 
year shipped as a sailor to Philadelphia. There he 
was employed by T. B. Freeman, the book publisher, 
then for some time by Edward Savage. This last 
business relation recalls the story, started by Dun- 
lap, that Edwin engraved the plates bearing Savage’s 
name. C. H. Hart, in his ‘Edward Savage, Painter 
and Engraver’ (Boston, 1905) proves, by the dates 
on Savage’s prints, that this is impossible. Hart calls 
Edwin ‘‘the American Bartolozzi, in method, though 
vastly superior in manner.’’ And elsewhere, ‘‘a great 
artist in his branch.’”’ As Stauffer put it, he “became 
the most popular and prolific engraver of portraits 
in the United States.” In 1830 waning health and 
eyesight forced him to abandon engraving. He be- 
came clerk in T. B. Freeman’s auction rooms, then 
assistant treasurer at the Chestnut St. Theatre, and 
later opened a small grocery store. ‘“‘In 1835,” the 
story ends, ‘the was made treasurer of the newly 
organised Artists’ Fund Society of Philadelphia; and 
having fallen heir to a small legacy about the same 
time, he was enabled to pass his remaining years in 
comfort.” 


Thomas McKean. Thomas McKean, / Gov- 
ernor of the / Commonwealth of Pennsyl- 
vania / Vice President of the State Society 
of Cincinnati &c. / Engraved by David Ed- 
win from the Original Picture by Gilbert 
Stuart in the Possession of J. B. McKean 
Esq’ / Entered According to Act of Congress, 
the 14 day of Jan» 1803. by Gilbert Stuart, and 
. David Edwin, of the State of Pennsylvania. / 
Stipple. Mantle Fielding, Catalogue of en- 
graved work of David Edwin, Philadelphia, 
1905, no. 122. 


+ David Rittenhouse. C. W. Peale pine 1772. 
—D. Edwin Sculp. / David Rittenhouse. / 
Ann. 4:tat. 40. / From an original Picture in 


the possession of Mrs Sergeant. / Stipple. 
Fielding-Edwin 166. Last line trimmed off. 


f Edward Shippen. G.. Stuart Pinx.—D. 
Edwin sculp. {/ Edward Shippen, LL.D. / 
Chief Justice of Pennsylvania. / ZE. 74. / 
Stipple. Fielding-Edwin 179. 


Gilbert Charles Stuart. Engraved by D. 
Edwin from the original Picture by John 
Neagle. / Gilbert Stuart / Zitat 72 / Pub- 
lished by Geo. W. Bleecker New York. / 
Neale, Printer — Proof. / Stipple. Fielding- 
Edwin 188b. 


George Washington. R. Peale Pinxt — 
Printed in Colour’s by H. Charles. — D. Ed- 
win Sculpt / General George Washington. / 
Published by H. S. Tanner, Philadelphia. / 
Stipple. Fielding-Edwin 207b. 


_The emphasis on the name of the man who printed 
this in colors was justified by the infrequency of such 
polychromatic excursions in this country at that time. 


Wall Case 16 


DoorittLe, Amos, 1754-1832: 


He engraved four drawings made by Ralph Earle 
of the affair at Lexington and Concord (see ‘Early 
Views,”’ nos. 76, 77). Artist and engraver were 
pathetically helpless, but the four prints speak with a 
rough eloquence. Not only were those pre-camera 
days, but talent was rare, and pictorial records of 
doings that stirred the people had to be produced with 
the limited means at command. And so these old 
engravings are treasured, as are others of the time. 
These four Doolittle prints were copied in our own 
day, on copper, by Sidney L. Smith. 


Doolittle really did improve after his early effort. 
See also ‘‘Early Views,” nos. 76, 77, 107. 


Alexander I of Russia. Published by Shel- 
ton & Kensett — A. Doolittle sc / Alexander 
I. / Emperor of all the Russias. Stipple. 
Stauffer 510. 


Jonathan Edwards. Jonathan Edwards / 
President. { Engraved by Amos Doolittle, 
N Haven Line. Stauffer 513. 


This portrait appeared in Edwards’s ‘“‘History of 
Redemption” (1793) and in “The Millenium” (1794). 

George Washington. A. Doolittle Sculp / 
Gen. George Washington, / Commander in 
chief of the / Armies of the United States. / 
Born Feb: 11th 1732 O. S. / Died December 
14th 1799, Etching. Stauffer 519; Hart 145. 


George Washington. Connecticut Maga- 
zine. / A. Doolittle Sc: / George Washington. 
Stipple. Stauffer 520, second state; Hart 507. 


In this state the plate is reworked and relettered: 
Published by Shelton & Kensett — A. Doolittle Sc / 
George Washington. / The Saviour of his Country 

Flight into Egypt. Over: Engraved for the 
American Edition of Brown’s Family Bible. 
Under: The Flight into Egypt. / Mathew Ch 
II Ve 14. / (two lines; / Doolittle Sculp. N. H. 
Stauffer-Fielding 384, second state. 


+ Thomas Jefferson. In circular border con- 
taining inscription. T. Jefferson President of 
the United States— Supporter of Liberty — 
True Republican & Friend of the Rights of 
man, Line. Trimmed close. 9.4 x 9.4. 


16 THE NEW YORK PUBLIC LIBRARY 


Woo.Liey, WILLIAM: 


Stauffer records only two plates by this mezzotint 
engraver, the portraits of George and Mrs. Washing- 
ton, published about 1800. 


Martha Washington. Woolley Pinxit — et 
Sculpsit. / Mrs. Martha Washington. Mezzo- 
tint. 11.10 x 9.15. 


GRAHAM, GEORGE: 


A “clever engraver in mezzotint and in stipple,” 
says Stauffer, who could learn about him only that 
he was apparently located in Philadelphia in 1797, 
worked for New York publishers in 1804, designed and 
apparently engraved a frontispiece for the Society of 
the Cincinnati (Boston, 1812), and was once more in 
Philadelphia in 1813. 


His most important work is the portrait of Samuel 
dams. 


Alexander Hamilton. Camillus / Painted 
by Walter Robertson, Engraved by George 
Graham for James Rivington New-York. 
1796. Stipple. Stauffer 1163, first state. Date 
missing. 


Deborah Sampson. Graham E / Deborah 
Sampson. / Published by H. Mann, 1797. 
Stipple. Stauffer 1168. 


From the “Female Review,’”? Dedham, Mass., 1797. 
In the Library’s copy of that publication, the im- 
pression of this portrait has, at the left, opposite the 
engraver’s name, an illegibly scratched name, pre- 
sumably that of the designer, beginning with B. 


Wall Case 17 
BircH, Wiiui1AM, 1755-1834: 


Born in England, where he became an enamel 
painter, engraver and print publisher. In 1794 he 
came to Philadelphia, where he continued his various 
activities, painting landscapes in water colors and 
miniatures in enamel. ‘‘Among the latter’? — Stauffer 
again — ‘‘were several portraits of Washington done 
after the Stuart head.” And further, his ‘earlier 
engraved work was executed in stipple and was much 
more finished than that published in this country.” 


See also ‘Early Views,” nos. 56, 58, 119, 175, and 
Flat Case 2, no. E. 


+ Arch Street Ferry. Drawn, Engraved & 
Published by W. Birch & Son.—Sold R. 
Campbell & Co No 30 Chesnut Street Philada 
1800. / Arch Street Ferry, Philadelphia. Line. 
Stauffer 161, second state. Restrike, with 
inscription changed to: Drawn. Engraved & 
Published by W. Birch Springland near Bris- 
tol Pennsylvania 1800 


Birch’s name is best known in this country through 
his series of Philadelphia views and the ‘Country 
Seats” (see three following items). The Philadelphia 
series was issued 1799-1800, “drawn, engraved and 
published by W. Birch and Son.” The “son”? was 
Thomas Birch, who later became noted as a landscape 
and marine painter. 


Title Page. Over: The / Country Seats of 
the United States of North America, / with 
some Scenes connected with them. / Under: 
16 / The Capitol at Washington. / Designed 
and Published by W. Birch Enamel Painter 
Springland near Bristol. Pennsylve 1808. 
Etching. Stauffer 190. 


In the impression here shown the number 16 does 
not appear. 

This is the title for the series which includes the 
two following items. 


Landsdown, Pennsylvania. Landsdown the 
Seat of the late W™ Bingham Esqr Pennsyl- 
vania. / Built by John Penn, Governor of 
Penn@ 1763 to 1776. / Drawn Engraved & 
Published by W. Birch, Springland near Bris- 
tol Pennsylva. Etching. In color. Stauffer 
200. Without second line of inscription. 


Mount Vernon, Virginia. Mount Vernon, 
Virginia, the Seat of the late Gen! G. Wash- 
ington. | Drawn. Engraved & Published by 
W. Birch Springland near Bristol, Pennsylva 
Etching. Stauffer 204. 


AKIN, JAMES, 1773?-1846: 


, Stauffer notes that the Philadelphia directory gives 
his occupation, in various years, as “engraver, de- 
signer, druggist, eating-house keeper and draftsman 
for patents. He drew caricatures upon stone for the 
lithographers, engraved bo and published 
prints...”’ Another example of the adaptability of the 
American! 

John J. Currier’s ‘History of Newburyport, Mass.,” 

as various references to Akin. In vy. 1 (1906), p. 
481, his frontispiece to a Newburyport collection of 
sacred musick is spoken of, and his engraving of a 
Bible design (‘‘Unto Thee will I sing’) is reproduced. 
In v. 2 (1909) it is stated that he engraved a medal 
for the Merrimack Humane Society, as well as the 
orphan asylum certificate which bears the name of 
Mrs. Akin. A biographical sketch on p. 371-377 in- 
forms us that he was born in South Carolina, came to 
Newburyport in 1804, and was a clerk in the State 
Department in Philadelphia. His connection with 
Jacob Perkins is gone into in detail on p. 362-370. 


Benjamin Franklin. J. Akin Sc. Philade / 
Benjamin Franklin. / Published by Wm 
Duane, Philadelphia, 1809. Line. Stauffer 15; 
New York Public Library Franklin List 201. 


This engraving, which was copied on various United 
States postage stamps, was published in Franklin’s 
“Works,” v. 4, Philadelphia, 1809, as a frontispiece. 
o a after the bust made by Giuseppe Cerrachi in 


Patrick Lyon. Grav’d by J. Akin. / Patrick 
Lyon, who suffered Three months severe im- 
prisonment on merely / a vague suspicion for 
the internal Robbery of the Bank / of Penn- 
sylvamia. Line. Stauffer 19. 


This is Lyon, the famous blacksmith, whose strik- 
ing full-length portrait, at his forge, was painted by 
Neagle and engraved by T. Kelly. 


+ Book plate: Peter A. Browne. Peter A. 
Browne. / Engrav'd by James Akin. 


AKIN, Mrs.: 


Supposed, says Stauffer, to have been the wife of 
James Akin. 


t Orphans’ Asylum Certificate, Newbury- 
port. Mrs Akin furnishes each member with 
a specimen / of her abilities in the Graphic 
Art, emblematic of the Institution. Mixed: 
Stauffer 30. On satin. 

“The only evidence of her work as an engraver,” 
says Stauffer. 

John J. Currier, in his “History of Newburyport, 
Mass., 1764-1909,” v. 2, 1909, reproduces an impres- 
sion of this certificate of the Newburyport Female’ 
Charitable Society, organized 1803, and says, p. 131, 
that it was “probably engraved by James in, who 
came to Newburyport in 1804.” 


Hii, JAMES: 


“In 1803,” says Stauffer, “James Hill engraved 
some crude Bible illustrations published in rles- 
town, Mass.’’ 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS Tey 


¥ Unto thee will I sing. Engraved by James 
Hill. / Unto thee will I sing with the harp. / 
O thou holy one of Israel. / Psalm LXXI, 
verse 22 Charlestown: (Massachusetts) 
Published by S. Etheridge. / Line. 6.9 x 5.3. 


Wall Case 18 


Lawson, ALEXANDER, 1773-1846 : 


Born in Scotland, came to the United States in 
1794, died in Philadelphia. Among his works were 
lates for Alexander Wilson’s ‘‘Ornithology,’? which 
awson said he engraved chiefly “for the honor of 
his old country,’? making not over one dollar per day 
in the process. 


William Penn. William Penn / J. J. Bar- 
ralet Direxit.— Lawson Sculp. / Drawn from 
the Original Bust in the Logonian Library 
Philadelphia Novr 1797. Stipple. Stauffer 
1683. 


Published in R. Prout’s ‘‘History of Pennsylvania,” 
v. 1, Philadelphia, 1797. 


+ George Washington. Birch Delt / En- 
graved by Lawson. Line. Stauffer 1690. 


Audrey and Touchstone. Painted by C. R. 
Leslie — Engraved by Alex. Lawson / Audrey 
and Touchstone. / Published by Gray & 
Bowen / Duffee & Stevens Printers. Line. 
Stauffer-Fielding 915. 


The last two lines of inscription are not given in 
Stauffer-Fielding. 


Hartnes, WILLIAM : 


Came to America in 1802; returned to England 
about 1809. We are told that he advertised his water 
color portraits ‘“‘in a style entirely new in the United 
States.”’ But he also engraved a number of portraits — 
“excellent engraver,’ Stauffer says. 


+ Choir of Angels. W. Haines inv. & Sculp. 
/ A Choir of Angels. / Stipple. 6.4 x 9.2. 


NEAGLE, JAMES: 
Died June 24, 1822, ‘‘aged 53 years.” 
“His signed work,’”’ says Stauffer, “‘is very scarce.” 


Somerville. Illustration. Somerville. / Me 
other joys invite / The Horn sonorous calls. / 
Engraved by J. Neagle Philad® Line. Stauf- 
fer 2300. 


Swift. Illustration. Kneeling woman and 
cupid. Swift. / While the blind loit’ring god 
is at his play /.../ Painted by H. Singleton 
—Engraved by J. Neagle Philad? Line. 
Stauffer 2301. 


Alfred Moore. Engraved by J. Neagle / 
Alfred Moore Line. Stauffer 2299. 


BowEs, JOSEPH: 


“Living in Philadelphia as early as 1796,” says 
Stauffer, who adds “this work was very poorly exe- 
cuted.”” He engraved magazine and book illustrations 
in both line and stipple. 


Knights Templar Certificate. Arch between 
two Corinthian columns, etc. Encampment 
No. 1 Philadelphia. J: Bowes Sculpr Line. 
Stauffer 241. 


Wall Case 19 


RoLLtinson, WILLIAM, 1772-1842: 


Born in England; died in New York. Says Stauf- 
fer: ‘‘He came to the United States prior to 1789, 
as he is credited with having ornamented the silver 
buttons on the coat worn by Washington at his in- 
auguration as President.’? According to Dunlap, 

. Agate painted a portrait of Rollinson, and Mr. 
Stauffer owned a silhouette of the engraver. 


The drawing by Rollinson for his folio portrait of 
Hamilton, Stauffer no. 2709, was, in 1920, in the pos- 
session of Mr. Joseph Sabin. 


See also “‘Early Views,’ nos. 117, 192. 


+ Alexander Hamilton. Camil-lus / Rollin- 
son sculpt Stipple. Stauffer 2710, second 
state. Gen! Ha-milton in place of Camil-lus. 


James Lawrence. Stuart pinxt — Rollinson 
sct {| James Lawrence Esqr / Late of the 
United States Navy / Engravd for the Ana- 
lectic Magazine / Entered according to Act 
of Congress Stipple. Stauffer 2713, first 
state. 

Published Aug., 1813. 


+ George Washington. Savage Pinxt—Rol- 

linson sct / George Washington / President 
of the United States. Stipple and aquatint. 
Stauffer 2718, first state; Hart 217. 


Masonic Certificate, Louisiana Lodge, New 
Orleans. Bror Rollinson fct N. York. Line. 
Stauffer 2727. 


The Angel. Engravd for the American 
Edition of Brown’s Family Bible. / The 
Angel / Presenting the Book. / Rollinson 
Scul.— N. York 1792. / :Three lines. Line. 
Stauffer-Fielding 1300. 


A number of engravers were engaged on this early 
American Bible. Much of the result looks like the 
work of younger men having an early opportunity, or 
of older ones turning out “‘pot-boilers.”? The signifi- 
cance of it all lies in the fact of this early attempt 
to produce a copiously illustrated Bible. 


Christian Library Title-Page. The / Chris- 
tian’s / Pocket Library / by / John Stanford. 
M.A./ Rollinson Sculpt / Vol. I. New York, 
/ Printed for the Editor, by T. & J. Swords 
/ 1796. / Line. Stauffer-Fielding 1281. 


+ Book plate: Wm. T. McCoun. Rollinson s. 
Wm. T. McCoun / Line. 


+ Card City Assembly N. Y. 1797. City As- 
sembly / The Honor of —/ company 1s re- 
quested for the Season / James Farquhar — 
W. M. Seton. / Jacob Morton — Managers — 
J. R. Livingston / Aquila Giles — Will Arm- 
strong. / 1797 {| New York / W. Milns Scrip- 
sit — Rollinson Sculpt. Line. 2.13 x 4.6. 


Prospectus, type-printed dated New-York, 
March 18, 1811, from 28 John-Street, and 
signed in pen-and-ink by Rollinson. Sir / 
The desideratum that has been long wanted 
to prevent the counterfeiting / of Bank Notes, 
is some kind of work that is of itself simple 
in appearance.../ yet impossible to be imi- 
tated in the common mode Of engraving : I 
take the liberty / of laying ye you a speci- 
men of work.../ ,3 lines, ..1 have pro- 


18 THE NEW YORK PUBLIC LIBRARY 


cured the assistance of Mr. William S. Leney 
of this city, to engrave / the Vignette...Mr. 
Leney is allowed to be the first artist in 
America, and is a gentleman of very respect- 
able rank in life. The / other parts of the 
Note are engraved by myself.:./ (5 lines; / 
I...vefer you to.../...Robert Lenox Esq. 
and John Slidell Esq. .../... 


Rollinson was one of the early men to exercise 
inventiveness in the field of bank note engraving, 
producing a machine for ruling waved lines, etc. 


Wall Case 20 


LENEY, WILLIAM SaTCHWELL, 1769-1831: 


Born in England; died in Canada. He was en- 
graving in his native country before he came to the 
United States in 1805. Stauffer found that his New 
York account book “‘shows that he was paid $100 to 
$150 for engraving an octavo portrait, a very large 
price for that early period.”” About 1820 he removed to 
Longue Pointe near Montreal. A half-tone from a 
photograph of his house there forms part of the 
Stauffer Collection in this Library. 


See also Rollinson’s prospectus, Wall Case 19. 
See also “Early Views,” no. 152. 


Robert Fulton. Painted by B. West P. R. A. 
— Engraved By W. S. Leney A. C. S. A. / 
Published By Joseph Delaplaine Chesnut 
Street Philadelphia 1815. / Robert Fulton 
Esqr. Stipple. Stauffer 1755, second state. 


ft Samuel Johnson of New York. Leney sct 

/ Samuel Johnson, D. D. / First President of 
Columbia College. / For the Med. & Phil. 
Register. Stipple. Stauffer 1794. 


{Sir Richard Steele. Painted by J. Rich- 
ardson 1712.—Leney sct / Steele Stipple. 
Stauffer 1857. 


ft Thomas Tickell. Sir Godfrey Kneller. del. 
—Leney sc. / Tickell / Published by W 
Durell. 1810. Stipple. Stauffer 1863. 


George Washington. Drawn by J. Wood 
from Houdon’s Bust — Engraved by Leney / 
Published by Joseph Delaplaine Chesnut St 
Philad¢ 1814. / Washington. Stipple. Stauf- 
fer 1866, first state; Hart 181. 


East River. Printed by H. Charles — Leney 
fct / On The East River. Line. Stauffer 
1883. 


+ Elgin Botanic Garden. Reinagle delt — 
Leney sct / View of the Botanic Garden of 
the State of New-York. / established in 1801. 
Line. Stauffer 1884. ° : 


+ New York Hospital. John R. Murray de- 
lin.— Leney sct / View of the New York 
Hospital. Line. Stauffer 1892. 


The examples of Leney’s work here exhibited show 
that he served both the very great and very natural 
demand for portraits of Americans, and the ap- 
parently equally insistent call for pictures of the 
growing United States. Both city and country views 
came from the presses in large quantities in the first 
half of the nineteenth century. A remarkable record 
of this activity is offered in the exhibition of “Early 
Views’”’ shown in the corridor. 


+ Finding of Moses. Over: Designed & En- 
graved for Collins’s Quarto Bible. Second 
Edition, / Under: L. Simonde delt.—W. S. 


Leney Sct. / She saw the child —and she had 
compassion on him. / Exod. C II. V. 6. / 
New York. Published by Collins, Perkins & 
Co. 1807. Line. Stauffer-Fielding 974. 


Above entry shows inscription as given by Stauffer- 
Fielding. In the impression here shown the letttering 
is Fourth edition instead of Second, Leney’s name 
is replaced by W. S. Leney & P. Maverick sc., and 
He print is trimmed close, there being no publication 
ine. 


Title. Poems / By / William Cowper / (2 
lines; / Vol. II / vignette / Leney del. et sct. 


/ 2 lines / New York /.../ David Hunting- 


ton / 1814 Line. 3.14 x 2.1. 


The title of v._1, designed by G. Fairman, was 
engraved by Peter Maverick. : 


Wall Case 21 


ECKSTEIN, JOHN: 


“A portrait painter,” says the ever helpful Stauf- 
fer, “a modeler in clay, and an engraver of portraits 
executed in a somewhat curious stipple manner, In... 
“Poulson’s Advertiser’, Philadelphia, 1806, he is re- 
ferred to as ‘Formerly histone: painter and statuary 
to the King of Prussia.’ ”’ In the Philadelphia directory 
he is described in various years as limner and statuary, 
engraver, and merchant. For an account of his ac- 
tivity in Prussia, see Thieme-Becker x: 331. 


+ Johann Friederich Schmidt. J. Eckstein 
pinxt & sculpt / Johann Friederich Schmidt / 
Prediger der Deutschen Lutherischen Ge- 
meine in Philadelphia; / geb. den 9ten Januar 
1746 in Deutschland: starb den 16ten May 
1812. Stipple. Stauffer 685. 


{+ King Tammany. Joh: Eckstein / The In- 
dian Chief who, famed of yore, / Saw Eu- 
rope’s sons adventuring here, / Looked, sor- 
rowing, to the crowded shore, / And sighing 
dropt a tear! / Prophecy of King Tammany 
Page 269. / Philad. Pub. by Lydia R. Bailey 
Stipple. Stauffer 689. 


Pim illustration to Freneau’s ‘‘Poems,” Philadelphia, 


FairMAN, GIDEON, 1774-1827: 


He was in business as an engraver in Albany and 
Philadelphia, becoming a member of the firm of 
Murray, Draper, Fairman & Co. He also designed 
for other engravers, among his works being titles for 
the Analectic, the Port Folio, and other polos 
A prize offered in London for a means o preventing 
counterfeiting drew Fairman, Jacob Perkins and Asa 
Spencer to England in 1818. Fairman and Perkins 
formed a partnership with Charles Heath, the English 
engraver, and issued prints produced by the “Patent 
hardened_ steel process.” After his return to Phila- 
delphia Fairman was a partner of C. G. Childs in 
1824, and two years later he was a member of Fair- 


_ man, Draper, Underwood & Co. 
The names of so many firms of bank-note en- 3 


gravers in the records of American graphic art throw 
an interesting light on competition and organization 
in the bank-note business. It is a record that includes 
not a few names well known not only on the annals 
of American engraving but of American painting. As 
is stated elsewhere in the present catalogue, various 
centres of organized production were eventually 
merged in the American Bank Note Co. A compressed 
account was furnished in Robert Noxon Toppan’s “A 
Hundred Years of Bank Note Engraving in the United 
States,’ a paper read before the trustees of the Ameri- 
can Bank Note Co. in 1896. The pamphlet also lists 
important inventions — transferring, die making, rul- 
ing machines, lathes, etc. — which increased the ef- 
fectiveness of American bank note work. A long list 
of firm-names is given in “The Willcox Paper Mill 
(Ivy Mills), 1729-1866,” by Joseph Willcox (Records 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 19 


of the American Catholic Historical Society of Phila- 
delphia, v. 8, 1897, p. 29-85) and in the same author’s 
“Ivy Mills, 1729-1866, Willcox and Related Fam- 
ilies’ (Baltimore, 1911), p. 47-51. 


+ George Washington. G. Stuart Pinxt.— 
G. Fairman Sculpt. Line. Stauffer 995, sec- 


ond state; Hart 373a; outer border, with rays, 
added. 


+ Joseph Dennie Memorial. Designed & 
Eng4 by G. Fairman Line. Stauffer 996. 


Title. Analectic Magazine. The / Analec- 
tic Magazine / Vol. 1. /.../ Designed & 
Eng¢? by G. Fairman / Philadelphia / Pub- 
lished by M. Thomas / No. 52 Chesnut St / 
1813. / Line. 6.10 x 3.14. 


EGELMANN, CARL FRIEDERICH, 1782-1860: 


This is the C. F. Engelmann noted by Stauffer. 
A biographical sketch of Charles Frederick Egelman, 
with a portrait, appears on _p. 407-408 of Morton L. 
Montgomery’s ‘‘History of Berks County in Pennsyl- 
vania”’ (Philadelphia, 1886). From this it appears 
that Egelmann was born in Germany May 12, 1782, 
came to the United States in 1802, and died Nov. 30, 
1860. He was a coachmaker, organist, maker of 
astronomical calculations for almanachs, and a student 
of perpetual motion. As to his copper-plate work, the 
author tells us that he “‘executed a number of superior 
designs.’”’ The very charitable nature of that state- 
ment becomes clear on a look at the engravings here 
shown, which, by the way, bear the artist’s name in 
the German form. 


Further information is given in the Transactions 
of the Historical Society of Berks County, v. 3, 1910, 
p. 15-16, 95, where, also, the name is spelled with 
one n at the end. Here the year of Egelmann’s arrival 
in America is placed at 1803; and we are told that he 
published the ‘‘Berks County Adler’? (in German) 
until 1837, and that he served as an apprentice to a 
cabinet-maker. While there are still some discrepan- 
cies, the essential facts appear to be established. A 
further added fact is that in 1826 he ‘‘engraved and 
printed a plan of Reading according to the original 
plan, when the town was laid out in 1748... A copy 
of it hangs in the office of our worthy president.” 


+ Title. Deutsche & Englische / Vorschrif- 
ten / fiir die / Jugend / Aufgesetzt und 
gestochen / von / Carl Friederich Egelmann. 
Line-5°x'6.10. 

Apparently an early contribution to the literature 
of penmanship. 

+ Certificate of birth and baptism. Im Jahr 
Christi ,1813, den (21 Oktober; um...Uhr / 
wurde Margaretha, ehelich geboren, und den 
116; ten / ~November, von Pfarrer ,Treis- 
bach, getauft. Die El- / tern heissen ;Jonas 
Hag, und (Catharina, geborne / ;Mees, Die 
Taufzeugen waren die lieben / Eltern, Der 
Geburtsort war ;Jackson T. Leb. C.; im / 
Staat ;Pensylvanien; Nordamerica /... ge- 
geichnet und gestochen von C. F. Egelmann. 
Above, picture of baptism of Christ; below, 
Christ sending out His apostles, with text: 
Gehet hin in alle Welt... Line. 11.5 x 9.3. 


Material in brackets is added in pen and ink. 


GoopMAN, CHar_eEs, 1790?-1830: 


Pupil of David Edwin, he went into partnership 
with his fellow apprentice Robert Piggot. In 1822 
Goodman turned from engraving to the practice of 
law, and Piggot about the same time became a clergy- 
man. And so Stauffer in his short sketch added two 
more examples to the record of American adaptability 
in the change of profession. 


+ John Wesley. C. Goodman Sc. / Rev4 J. 
Wesley A. M. / Published by J. Pounder 
No. 134 North 4th Street. Stipple. Stauffer- 
Fielding 521. 


rVignette; C. Goodman Sc. / Grand Na- 
tional Lottery: / D. Gillespie, / Only Agent 
for the Managers, / No. 137 Broad Way / 
New York. / At his Lucky office / may be 
had, Tickets & Shares of the greatest / Va- 
riety. To left: Eng4 by J. Warr Jr. / Phil- 
ad¢, To right: For the United States / Di- 
rectory. Stipple. 6 x 3.8. 

On the reverse of this appears the following: 


_ Edward Quirk & Son / (Vignette: Absalom hang- 
ing from tree]. / O Absalum O Absalum my Son / 
Hadst thou but worn a Wig — Thou hadst not been 
undone! / Ornamental / Hair Manufacturers, / 
Wholesale & Retail / and / for Exportation / Im- 
porters of Perfumery. / N. 170 Broadway, / New 
York. Line. Size: 6.4 x 3.12. 


Boyp, JoHN: 
Hs Listed in Philadelphia directory, 1811-19 and 1822~ 


James Fennell. Wood Pinxt— Boyd Sct 
/ Jas Fennell Stipple. Stauffer 251. 


+ Fisher Ames. Painted by Stuart — Pub- 
lish’d by Joseph Delaplaine S. W. Corner of 
Chesnut & Seventh Sts Philad@ 1814 — En- 
graved by Boyd / Fisher Ames Esq’ Stipple. 
Stauffer 245, second state. Publication line 
changed to Published by Joseph Delaplaine 
and Rogers & Esler, Printers is added. In 
kee impression, printers’ names trimmed 
off. 


GOBRECHT, CHRISTIAN, 1785-1844: 


Stauffer gives an unusually long account of Go- 
brecht. He ‘“‘was apprenticed to a clock-maker... 
By working upon the metal clock-faces of the period 
he learned engraving and die-sinking... In 1836 [he] 
was appointed draughtsman and die-sinker to the U. S. 
Mint in Philadelphia, and he designed and made the 
dies for the dollar of 1836. On Dec. 21, 1840, he 
succeeded William Kneass as chief engraver to the 
Mint and held this office until his death.” Stauffer 
goes into much detail regarding Gobrecht’s invention 
of a medal-ruling machine and Asa Spencer’s counter- 
claims. Gobrecht’s head of Czar Alexander (1817) 
appears to be the first engraving so made in this 
country from a medal. This idea of giving the effect 
of a bas-relief in engraving was followed also in 
Europe, for instance by Achille Collas. 


Besides all his activities, Gobrecht found time to 
engrave some good portraits in stipple, including sev- 
eral of Washington. 

David Rittenhouse. C. W. Peale, Pinxt — 
C. Gobrecht, Sculpt / David Rittenhouse, 
L.L.DF.R.S. / President of the American 
Philosophical Society Stipple. Stauffer 1113. 


Benjamin Franklin. D. Martin Pinxt —C. 
Gobrecht. sculpt / Benjamin Franklin, L.L.D. 
F.R.S. Stipple. Stauffer 1110. New York 
Public Library Franklin List 44. 


Wall Case 22 
TANNER, BENJAMIN, 1775-1848: 


Tanner was engraving in New York in 1792-1805; 
removed to Philadelphia, where in 1811 he went into 
partnership with his brother Henry S. for engraving 
and map publishing. During 1816-24 he was a mem- 


20 THE NEW YORK PUBLIC LIBRARY 


ber of Tanner, Vallance, Kearny & Co. Stauffer 
looked up Tanner’s advertisements, and records the 
rices at which some of his prints were published. 
‘Perry’s Victory’ (intended as a companion piece 
to his “Capture of the Macedonian” and Tiebout’s 
“Guerriére”’), for instance, sold for $5; the “Sur- 
render of Cornwallis” (1824), after a drawing by 
Renault, for $12. 
See also “Early Views,” no. 194. 


Benjamin Franklin. Painted, by C. N. 
Cochin. 1777.— Engraved, by B. Tanner. / 
Benjamin Franklin. / Born at Boston, J anuary 
17th 1706. Died at Philadelphia, April 17th 
1790. / Published by B. Tanner, No 74 South 
Eighth Street; Philadelphia; 1822. Stipple. 
Stauffer 3087; New York Public Library 
Franklin list 67. Last line trimmed off. 


+ Marquis Lafayette. Lafayette ,fac-sim. 
signature.; / Engraved by B. Tanner, from a 
Lithographic Print, Published in Paris in 
1818. / Published March 27th 1824, by B. 
Tanner Neo 74 South Eighth Street, Phila- 
delphia. Line. Stauffer 3095. 


+ George Washington. Engraved for the 
Washingtoniana. / Savage, pinx.— Tanner, 
sc. / G. Washington. Stipple. Stauffer 3105, 
third state, First line erased; Hart 218b. 


CHARLES, WILLIAM: 


From statements by Lossing and Dr. Anderson, 
Stauffer gleaned a few sparse notes about this en- 
graver and etcher. It is stated that his caricaturing 
of Edinburgh dignitaries forced him to leave that city. 
In New York, from about 1801 on, and in Phila- 
delphia after 1816, he was occupied as engraver, 
bookseller, and stationer. Various kinds of jobs came 
to him in the course of the day’s work. He did plates 
for Rees’ Cyclopedia, as did so many of our early 
nineteenth century engravers. (See the soft-ground 
etching shown in this Wall Case.) He published, 
among other books, ““The Tour of Dr. Syntax,” with 
colored aquatints by himself after Rowlandson. But 
he is perhaps best known by his series of caricatures, 
mainly having to do with the War of 1812, two of 
which are shown here. 


John Bull as Ship-Baker. Philada Pubd and 
sold wholesale by Wm Charles.—Enter’d ac- 
cording to act of Congress—Charles del et 
sculp / Iohn Bull making a new Batch of 
Ships to send to the Lakes Etching and aqua- 
tint. Stauffer 315. 

Evidently inspired by Gillray’s similar print of 
Napoleon. Charles issued a number of caricatures 


during the War of 1812, marked by a certain rough 
humor. 


His “John Bull and Perry” is a pictorial pun on 
the word “perry,” the name for fresh pear juice, 
which is apt to produce digestive unpleasantness. In 
the picture, King George is having a dose of Perry. 


+ Hartford Convention. W™ Charles, Sc — 
/ The Hartford Convention or Leap no Leap 
Etching and aquatint. In color. Stauffer 333. 

For earlier examples of caricature in this country, 
see Floor Case E. 

Drawing by Poussin. Over: Drawing / 
Plate 9. Under: W™ Charles Fecit. / From 
an original Drawing by Gaspar Poussin in the 
Collection of Benjamin West Esqr P. R. A. / 
Soft-ground etching. 6.4 x 8.4. 


From Rees’ Cyclopedia. Interesting as a ae 
quite out of the usual caricature run of Charles’s 
work, and as a sporadic example, in this country and 
at that period, of the use of soft-ground etching to 
reproduce drawings. 


, encouragement of w 


Otts, Bass, 1784-1861: 


First apprenticed to a_scythe-maker, Otis later 
took up portrait painting. Besides his vocation he ex- 
perimented in print making, doing some portraits in 
aquatint, as well as some reproductions, in the same 
medium, of paintings by Murillo and Burnet. He also 
tried his hand at lithography. 


Philip Syng Physick. B O. / P. S. Physick 
Ee P.S. Aquatint and roulette. Stauffer 


There are impressions with 28 in the upper right 
corner. 


Landscape: house and trees at waterside. 
Bass Otis Lithographic Lithograph. Border 
of two lines. 3.6 x 4.12. 


From the “Analectic Magazine,” July, 1819. The 
accompanying text states that “the drawing was made 
on a stone from Munich, presented to the American 
Philosophical Society by Mr. Thomas Dobson of this 
city... But the art has been successfully tried on 
specimens of stone from Frankfort, Kentucky. ..Doe 
Run, Kentucky...Lancaster County.,.and on some 
pieces of white marble from White Marsh.” Accord- 
ing to the ‘‘National Intelligencer” of Jan. 8, 1808, 
Dr. S. L. Mitchill had a lithographic stone and ink 
in his possession at the time, rege they were 
apparently not put to use then. At all events, the 
print here shown and the next one on the list, both 
from the S. P. Avery Collection, are the earliest 
es examples of lithography produced in the United 

tates. 


Landscape: house by roadside. B. Otis Del. 
& Sc. / AD 1820. Vignette. 3.6 x 5.12. 


Neither this nor the ‘preceding show eed special 
understanding of the possibilities of the lithographic 
process. Their claim to notice lies in their priority. 


Bowen, ABEL, 1790-1850: 


The plates here listed were engraved on copper, 
though Bowen was particularly identified with wood- 
engraving, publishing various boots illustrated in that 
medium. He was associated with others in issuing the 
“American Magazine,” a periodical “devoted to the 
: engraving in America.” The 
intention was more noteworthy than the result. 


John Berridge. A. Bowen Sc. / Rev. John 
Berridge. A. M. Stipple. Stauffer 211. 


James Montgomery. A. Bowen, Sc. 
James Montgomery. Stipple. Stauffer 215, 


William Staughton. Wood del.— A. Bow- 
en Sc. / Wm Staughton, D.D./ President of 
Columbian College, Washington D. C, 
Stipple. Stauffer 217. 


White Mountains. J. Kidder del.—A. 
Bowen Sc. / View of the White Mountains 
from Shelburne. Line. Stauffer 234, 


Wall Case 23 


BENNETT, WILLIAM JAmEs, 1787?-1844: 


Born in England, he came, in 1816, to New York, 
where he died in 1844. A clever landscape painter in 
water colors and a designer for engravers, he 
aquatinted himself, as the prints here listed show. 
He became an Academician of the National Academy 
of Design, of which body he was curator for some 
years. 

See also ‘‘Early Views,” nos. 145, 146, 154, 155, 
158, 159, 162-169, 171-173, 218, 220-222, 237. 


t Weehawken. View of Weehawken Bluff 
from the Hudson / (Looking up) / Designed 
& Engraved expressly for the New Mirror 
by W. J. Bennett. Aquatint. Stauffer 150. 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 21 


New York, Fulton St. Market. Wm. J. 
Bennett Pinxt. et Sculpt. / Fulton St. & 
Market. / Henry I. Megarey New York 
Paenot Stauffer 137; Stauffer-Fielding 


Niagara Falls. Painted & Eng4, By W. J. 
Bennett. / Niagara Falls. / To Thomas Dixon 
Esq’. this View of the British Fall taken from 
Goat Island, / is respectfully Inscribed by his 
Obedient Servt. / Henry I. Megarey. Aqua- 
tint. In color. Stauffer 142, with Printed by 
J. Neale. 


Aquatint at this time was much used in England 
in the illustration of books of travel. Its original 
function, the imitation of wash drawings in mono- 
chrome or color, usually with light outlines, is quite 
evident. In this country the best work in this medium 
was done in separate prints. Bennett and John Hill 
were especially noteworthy; others who tried the 
rocess were Bass Otis, Wm. Strickland, St. Mémin, 
. Drayton, William Rollinson, Robert Havell, William 
Charles, — all represented in the present exhibition 
by aquatints, as well as Edward Savage, William 
Hamlin, J. R. Smith, Abner Reed, J. I. Pease, F. 
Shallus, and others. 


Some of the artists named did portraits in aqua- 
tint, but such cases are few. Pure aquatint, with its 
flat tints — not mixed with other processes as in the 
St. Mémin heads — would certainly seem less fitted 
to portraiture than to the delineation of scenery or 
buildings, to which use it was put in the main. 


Wall Case 24 
Hi1, Joun, 1770-1850: 


Born in London; came to New York in 1816. 
Worked in New York and Philadelphia, and died at 
West Nyack. After doing some small aquatints for 
magazines, he issued his series of larger plates. 
These were his ‘‘Drawing Book” (1821), after draw- 
ings by himself, the “Erie Canal series,’”’ and the two 
by which he is especially well known. The last two 
are the “‘Landscape Album” (1819, 1820), after paint- 
ings by Joshua Shaw, and the ‘‘Hudson River Port- 
folio” (1828), mainly after paintings by W. G. Wall. 

See also “Early Views,” nos. 161, 177, 178, 191, 
199, 205, 210. 


Hill Drawing Book. Title: Drawing Book 
/ of Landscape Scenery. / Studies from Na- 
ture / Executed by I. Hill / 1821 / Drawn and 
Engraved by I. Hill / Published by H. I. 
Megarey, New York, and I. Mill Charleston 
S.C. Aquatint. In color. Stauffer 1328. 


Hill was noteworthy among those who practiced 
aquatint in this snagee The prints here listed il- 
lustrate the activity of engravers in providing the 
Americans with pictures of the natural beauties of 
their land and ee its rising wealth as shown in city 
development. 


Landscape Album. After paintings by J. 
Shaw. 1820. 11. Passaic River, below the 
Falls. Aquatint. Stauffer 1343. 


The Library has an impression of the title of this 
series with 1820 clearly changed from 1819, and an 
impression with the original date 1819. The name of 
Moses Thomas appears on the 1819 title; that of 
Carey on the 1820 one. 

In the Library’s Bulletin for June, 1920 was pub- 
lished “John Hill and his Landscape Album,” a page 
of notes on this “unrecorded variation.” 


Richmond, Virginia. Drawn by C. Fraser. 
/ Aquatinted by Hill / View of Richmond, 
Virginia Aquatint. Stauffer 1352. 

From the ‘‘Analectic Magazine,” v. 9, 1817. 


+ York Springs, Pennsylvania. Drawn by J. 
Shaw. — Engraved by J. Hill. / York Springs, 
Adams County, in Pennsylvania. Aquatint. 
Stauffer 1355. 


From the ‘‘Analectic Magazine,” v. 13, May, 1819. 


The Hudson from West Point. Drawn by 
G. Catlin.— Engraved, Printed. and Col- 
oured by J. Hill / To the Cadets, of West 
Point Military Academy this print is respect- 
fully dedicated, / by their friend and Serv- 
ant, Geo, Catlin. / Published May 15th. 1828. 
by G. Catlin N. York.../ Aquatint. In 
color. Stauffer-Fielding 603, second state. 


Hitt, Joun Wititam, 1812-79: 


Son of John Hill, the aquatinter. He was one of 
the American ‘Pre-Raphaelite’ group of painters, 
but did some aquatinting, and also drew on the stone. 
His name is especially familiar through his drawings 
of views in New York and elsewhere, reproduced by 
various engravers. 


J. W. Hill lived in West Nyack, where his son, 
John Henry, farmer and artist, carried on the family 
tradition of art into a third generation, while another 
son, George William, went into the entirely different 
field of mathematical astronomy. His eminence in 
that specialty is shown by the fact that his works 
were published by the Carnegie Institution. 


See also “‘Early Views,” nos. 129, 131, 133-135, 
156, 160-162, 180, 183, 188, 213, 218, 226, 232. 


Croton Aqueduct. XVII / F. B. Tower — 
J. W. Hill. / Croton Aqueduct at Hastings. 
Aquatint. Stauffer 1357. 


Wall Case 25 


Eppy, Isaac, 1777-1847: 


Charles Eddy, in “Genealogy of the Eddy Family” 
(Brooklyn, 1881), p. 46, says that Eddy was born in 
Weathersfield, Vt., went in-1826 to Troy, N. Y., and 
later to Waterford, N. Y., “‘was a portrait painter in 
early life,’? and died July 25, 1847. 


Stauffer credits him with some “exceedingly crude 
line engravings” for the first Vermont edition (1812) 
of the Bible. 


In the “History of Windsor County, Vermont, 
edited by Lewis Cass Aldrich and Frank R. Holmes’ 
(Syracuse, 1891), on p. 708, appears this information: 
“Tsaac Eddy, an inventor, erected a building where 
he experimented with perpetual motion. He afterwards 
converted it into a printing and copper-plate engraving 
establishment, publishing wall maps.” This was in 
the town of Weathersfield. 


Elhanan Winchester. Erle pinxt — Eddy 
Sc. / Rev. Elhanan Winchester. / Boston. / 
Pub. by Benjn B. Mussy. / 1831. / Winslow 
V. Coles, Printer Boston. / Line. Stauffer- 
Fielding 410. 


KEARNY, FRANCIS: 


According to the “‘History of St. Peter’s Church 
in Perth Amboy,” by Rev. W. N. Jones (about 1924), 
p. 352, he was born near Perth Amboy, July 23, 1785 
and died Sept. 1, 1837. While working in Philadel- 
phia, he was a member of the firm Pendleton, Kearny 
& Childs, Stauffer, quoting Westcott (‘‘History of 
Philadelphia”) says that he studied drawing with 
Archibald and Alexander Robertson, and engraving 
with Peter R. Maverick. That statement recalls the 
names of three men active in New York at the time 
in the practice and teaching of art. Kearny’s work 
includes a number of small plates for annuals such 
as “The Talisman,” “The Atlantic Souvenir,” and 
“The Pearl.” These had the heyday of their popu- 
larity in the Thirties and Forties, when they were 
issued by various publishers. 


22 THE NEW YORK PUBLIC LIBRARY 


John Quincy Adams. John Quincy Adams. 
/ Engraved, by F. Kearny, from a portrait by 
King; from Delaplaine’s, National Gallery. / 
Published by B. O. Tyler. / Washington City. 
Stipple. Stauffer 1565. 


“Published in 1824, 
Stauffer. 


‘Price One Dollar.’ ’? — 


Bripport, HucuH: 


Born in London, 1794 — Great Britain gave us a 
good number of our early engravers — came to Phila- 
delphia, 1816, and worked there at least as late as 
1837, He was a portrait and miniature painter, had 
a drawing school, executed some portraits in stipple, 
and drew portraits on stone for Philadelphia lithog- 
raphers. Besides all this, Stauffer tells us that he 
was one of the instructors of the deaf-mute artist 
Albert Newsam. 


Henry Conwell. The Rt Rev. Henry Con- 
well D.D. / R. C. Bishop of Philadelphia. if 
Engraved by H. Bridport from a Painting by 
J. Neagle 1826. Stipple. Stauffer 274. 


GIMBREDE, THomas, 1781-1832: 


Gimbrede, brother-in-law of Prudhomme the en- 
graver, was born in France and came to the United 
States in 1802 as a miniature painter. He did stipple 
portraits for New York publishers and for the **Port- 
Folio” and the ‘‘Analectic Magazine,” and in 1819 
became drawing master at the West Point Military 
Academy, where he remained until his death. His 
son, Joseph Napoleon (b. 1820), was also an engraver. 


Edward G. Malbone. Gimbrede Sculpt 
/ Edward G. Malbone / Engraved for the 
Analectic Magazine Published by M. Thomas. 
Stipple. Stauffer 1063. 

From the “Analectic Magazine” Sept., 1815. 


Napoleon Francois Charles Joseph. Isabey 
& Vienne / Mars 1815. / Napoléon Francois / 
Charles Joseph / Prince de Parme / Né le 
20 Mars 1811. / Gravé par Gimbrede N. Y. 
Stipple. Stauffer 1072. 


Loncacre, JAMES Barton, 1794-1869: 


Longacre learned engraving from George Murray. 
“His earliest work,” says Stauffer, “was done for 
S. F. Bradford’s Encyclopedia, of 1803-18”, A god- 
send those early encyclopedias must have been to 
young engravers, and older ones too, for that matter. 
Longacre, however, soon found his specialty in stipple 
portraits, many of them engraved after his own draw- 
ings. Notable among his larger portraits is his Jack- 
son (1820), after Sully, in which he drew tones of 
sonorous richness from the stipple process, which in 
the hands of not a few engravers ran to anaemic 
grays or dull, heavy blacks. With James Herring he 
issued the “National Portrait Gallery” (1834-39), a 
noteworthy collection of portraits of Americans. For 
this work, says Stauffer “Longacre set the standard 
of engraving so high, that after employing the best 
engravers in this country, he was compelled to in- 
duce others to come from Europe especially for this 
purpose. 


In 1844 Longacre succeeded Gobrecht as engraver 


to the United States Mint. 


Charles Carroll. Charles Carroll Of Car- 
rollton. / Engraved by James B. Longacre 
from a Painting by Chester Harding Line. 
Stauffer 1953. 


This is one of the cases where Longacre turned 
to line engraving; as a rule he worked in stipple. 


It is to be noted that American portrait engraving 
of the first half of the nineteenth century not only 
gives us a pictorial record of American notables, but 
reproduces for us the work of American painters who 
portrayed their sitters with a certain quiet dignity 
and a noteworthy restraint in color, 


De Witt Clinton. DeWitt Clinton. / En- 
graved by J. B. Longacre from a miniature by 
G. Catlin. / Painted at Albany Decem. 1824. 
Stipple. Stauffer 1961, second state, with 
Sam! Maverick Print added. 


Miss Lydia Kelly. Miss Kelly. / As Bea- 
trice. / Engraved by J. B. Longacre from a 
Painting by J. Neagle. / Lopez & Wemyss’ 
Edition. / Published by A. R. Poole Phila- 
delphia 1826. / Printed by B. Rogers. Stipple. 
Stauffer 2029. Proof before letters. 


Wall Case 26 


KELLY, THOMAS: 


Born in Ireland about 1795, came to the United 
States, was in Boston 1823, Philadelphia 1831-33, 
New York 1834-35. He died in the New York alms- 
house about 1841. At his best Kelly attained the 


delicacy of his J. R. Drake after Rodgers and the 


force of his Chapman after Neagle, the latter por- 
trait here shown. 

Fisher Ames. Painted by Stuart.—En- 
graved by T. Kelly. / Fisher Ames. / Pub- 
lished by Samuel Walker, Harlem Place, 
“é pelea Street Boston. Stipple. Stauffer 


Nathaniel Chapman. Engraved by T. Kelly, 
from the original picture painted by J. Neagle, 
for the Hall of the Medical Institute Phila- 
delphia. / N. Chapman, M. D. / Professor of 
the Institutes & Practice of Physic & Clin- 
ical Practice in the University of Pennsyl- 
vania. Sc. &c. &c. / (Copyright, 1831.) 
Line. Stauffer 1599. Two last lines of in- 
scription trimmed off. 


Rufus King. Engraved by T. Kelly from 
the Original Picture by Stuart. / Rufus King. 
/ Rufus King ;fac-simile signature). Line. 
Stauffer 1610. — 


NEAGLE, JoHN B., 1796?-1866: 


Born in England; died in Philadelphia. He en- 
graved portraits and book illustrations, and “in the 
latter part of his life was engaged almost entirely 
on bank-note work.” So Stauffer. 


Thomas C. James. Painted by Wood.— 
Engraved by Neagle. / Published by Joseph 
Delaplaine / Thomas C. James M.D. 
Printed by Harrison & Porter. Line. Stauf- 
fer 2305, first state. 


Mother and boy. Westall R. A. del. — En- 
graved by J. B. Neagle / Mother and Boy. / 
Published by T. T. Ash Philadelphia. Line. 
India paper. Stauffer-Fielding, p. 205. 


Published in “The Pearl, or, Affection’s Gift,” 
Philadelphia, 1830. 


“His small annual plates represent his best work.” 
— Stauffer. 


Title. J. Neagle Sc. / The / Analectic 
Magazine / Vol. 13. / Published by M. 
Thomas, / Johnsons Head No. 52 Chesnut 
Street. / Philadelphia / 1819. Line. 6.8 x 46. 


It is noteworthy that the publishers of this maga- 
zine and of the ‘“Port-Folio” went to the expense 
of having new titlepages engraved for successive 
volumes. Engraved titles, for books as well as maga- 
zines, were in vogue then. 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 23 


Hoocianp, WILLIAM: 


The fragmentary information that Stauffer was 
able to gather includes these statements. About 1815 
Hoogland was designing and engraving vignettes in 
New York; in 1826 he was with Abel Bowen in 
Boston, where John Cheney and Joseph Andrews were 
among his pupils; in 1841 he was again in New York. 
He ‘‘was one of the early American bank-note en- 
gravers.” It may be added that besides his book 
illustrations and title-pages he did a number of por- 
traits, one of the best being that of W. E. Channing. 
Apparently he also drew for lithographers in Boston. 


+ Alexander Hamilton. Painted by Ames. — 

Engraved by Hoogland. / Alexander Ham- 
ilton. / Published by Samuel Walker (Har- 
lem Place) Washington Street Boston. 
Stipple. Stauffer 1423. 


Title vignette. New York Visitor, 1841. 
The / New-York / Visitor / Vol. 1 / and / 
W™ Hogland sc / Ladys Parlor Magazine. / 
he Harrison Publisher 1841 / Line. 5 x 


DRAYTON, J.: 


“An engraver of landscape in aquatint, and an ex- 
pert print colorist,’’ who was working “‘at least as 
early as 1820,” says Stauffer. 

The word colorist, with its suggestion of Steven- 
son’s “A penny plain and twopence coloured,” re- 
calls an activity for which a publishing house such 
as that of Ackermann in London had on hand a staff 
of experienced colorists. See Martin Hardie’s ‘“‘Eng- 
lish Coloured Books,” p. 89-91. 


Bordentown, New Jersey. Engravd & 
Colour’d by J. Drayton. / View near Borden- 
ton, from the Gardens of the Count de Su- 
villiers. Aquatint. In color. Stauffer 542. 


St. Leonard Cottage. Drawn by Miss C. 
Schetky— Engraved by J. Drayton. / The 
Cottage of St Leonards. / Muschat’s Cairn, 
and the Ruins of St Anthony's Chapel. Aqua- 
tint. Stauffer 549. 


The Library has also an impression, in the Stauffer 
Collection, with Pubd. by P. Price Jr. Philada. for the 
Casket. added below. 


Wall Case 27 


STRICKLAND, WILLIAM, 1787-1854: 


Strickland studied architecture with B. H. Latrobe, 
but by 1809 he began to branch out into various 
activities. He practiced as an architect, designing 
various public buildings in Philadelphia; he was also 
the architect of the State House in Nashville, under 
which edifice his body lies in a crypt. He painted 
portraits, designed for engravers, and himself did 
aquatints. The rise of railway building led him to 
turn also to the practice of civil engineering, in 
which, Stauffer says, ‘che became as famous as he 
had deservedly been as an architect.” One of his 
projects was a national monument commemorative of 


Washington. 


+ Merriwether Lewis. St. Memin Pinxt.— 
Strickland Sculpt. / Merriwether Lewis 
Esq’. / Engraved for the Analectic Magazine 
and Naval Chronicle. Aquatint. 
3050, first state. 


The last line of inscription is not given in Stauf- 
fer. Published in the ‘“‘Analectic Magazine,” v. 7, 
1816. 

Aquatint has been rarely used for portraits. Bass 
Otis executed some heads in this medium (see Wall 
Case 22). 


Stauffer . 


{Fort Niagara. Strickland sc. / Fort Ni- 
agara taken from the British side of the River 
at Newark. Aquatint. Stauffer 3056. 


+ The Peacock and L’Epervier. T. Birch del. 
— W. Strickland sc. / Peacock & L’Epervier. 
Aquatint. Stauffer 3060. 


Water Gap, Pennsylvania. T. Birch pine. — 
Strickland sc. / View of the Water Gap and 
Columbia Glass works— River Delaware 
Aquatint. Stauffer 3066. 


Certain localities appear repeatedly in our pic- 
torial records of the country’s natural beauties. The 
Delaware Water Gap is noteworthy among these, 
and of course, above all others, Niagara Falls. 


In the present case the exercise of the love of 
natural scenery, with an eye on the glass works, 
marks a delightful blend of interests. 


CHILpDs, CepHas G., 1793-1871: 


He learned engraving from Gideon Fairman, and 
became an able engraver in line and stipple, doing 
portraits, landscapes and city views. Business cards 
and the like were turned out by Childs & Carpenter 
in 1822. From 1818 to 1845 Childs is listed in the 
Philadelphia directory as “historical and landscape 
engraver.”’ During 1831-35 he was associated with 
the painter Henry Inman, as Childs: & Inman, their 
general engraving business being augmented by a 
lithographic department. This latter was placed in 
charge of P. S. Duval, who was brought from Eu- 
rope. Inman himself made drawings on the stone, 
and Albert Newsam, the deaf-mute, was employed by 
the firm. Childs was also at one time associated in 
lithographic work with George Lehman. The name 
of Inman brings to mind the interest which artists 
took in lithography in those early days, while the 
mention of firms brings up the early history of 
lithographic printing and publishing in Philadelphia. 
That, however, is another story. To return to Childs. 
About 1845 he turned to newspaper work, becoming 
a commercial editor. As to his interest in militia 
See see the caricature by Clay, in this Wall 

ase. 


Simon Bolivar. Gravado por C. G. Childs / 
El Libertador Simon Bolivar. / Presidente 
de la Republica de Colombia. / Engraved 
From the original picture presented by Boli- 
var to Judge Prevost. Stipple. Stauffer 341. 


Bank of the United States. Drawn by Geo. 
Strickland. — Engraved by C. G. Childs. / 
Bank of the United States. / Pub. by C. G. 
Childs Engraver Philadelphia 1828. / Copy 
Right secured. Line. Stauffer 354. 


+ Book plate: Henry D. Gilpin. Henry D. 
Gilpin. Line. 


Ciay, Epwarp W., 1792-1857: 


The record of Clay, as traced by Stauffer, shows 
that he was a midshipman, later was admitted to the 
bar in 1825, but was finally drawn to art. The day’s 
work set him at various tasks: he engraved portraits 
in line, etched music titles and what not, drew for 
the engravers, and drew on the stone for H. R. Rob- 
inson (see ‘‘Early Views,’ no. 200) and Childs & 
Inman. He is particularly known through his cari- 
catures, of which a specimen is shown in this Wall 
Case, and he contributed comic comment as late as the 
days of the slavery controversy in Buchanan’s time. 
Later his eyes gave out and he became a court clerk 
in Delaware. 


Baron Charles De Drais. FE. W. Clay Scul. 
Stauffer 391. Line. 


An early velocipede picture. 


Nation’s Bulwark. Clay Copy Right Se- 
cured. Sketches of Character No 1 / Pub. for 


24 THE NEW YORK PUBLIC LIBRARY 


the Proprietors by R. H. Hobson. Chesnut St 
Philad@ 1829. / The Nation’s Bulwark. fiA 
well diciplined Militia. Etching. In color. 
Stauffer 393. : 


“Clay was a merciless caricaturist and some of 
his lampoons of his fellow-citizens are said to have 
caused him much personal inconvenience.” Stauffer 
tells us also that in the present print “‘some of the 
faces are portraits, including one of C. G. Childs.” 
Besides his varied and numerous business activities, 
Childs was much interested in volunteer military 
organizations in Philadelphia. The pictorial record of 
American militia organizations is an interesting re- 
flection of popular taste in uniforms and trappings. 
As to this latter circumstance — or pomp and circum- 
Stance— see the article on ‘American military 
prints,” in the “Print Connoisseur” for March, 1921. 


Wall Case 28 


CHENEY, Joun, 1801-85: 


John Cheney is particularly notable through his 
small portraits and other vignettes in books and an- 
nuals. From the inanity of some of the “keepsake” 
plates, his work stands out by delicacy, and even — 
as in Guardian Angels, after Reynolds —a certain 
richness. As his plates were in some cases used over 
and over again in various publications, one must be 
careful to see them in proofs or in early impressions, 
before the plates were worn. S. R. Koehler explains 
Cheney’s abandonment of the graver thus: “The an- 
nuals were ruined by competition, and deteriorated 
in quality to such a degree that there was no longer 
any place in them for work of the excellence of 
John Cheney’s and of his better fellow-engravers, all 
of whom, so far as they remained in the prot csions 
turned their attention to bank-note work. John Cheney 
also engraved a few bank-note dies; but what little 
he did after 1845 was principally portrait work... 
After a few attempts...which manifestly show a 


decline in quality, the result, appara) of weariness | 


growing out of disappointment, he laid down the graver 
forever when he was but little more than fift pes 
of age.” The Museum of Fine Arts, Boston, held an 
exhibition of the works of John Cheney and his 
brother, Seth Wells, in 1893. 


Several of our earlier engravers were self-taught, 
working with home-made tools, plates and presses; for 
instance: Fairman, Smillie, Wm. Rollinson, Alex- 
ander Anderson, and J. I. Pease. It appears that 
John Cheney likewise began to engrave with no in- 
struction other “than that offered by books and the 
examination of such prints as came under his notice,” 
with tools made by himself and plates hammered from 
pieces of an old copper boiler. 

+ Sibyl. from a Painting after Guido. — En- 
graved by J. Cheney. / Sibyl. / Published by 
Carter & Hendee, Boston. / McKingie Prinir 
Title & publication line trimmed off. Line. 
S. R. Koehler, Catalogue of the engraved... 
work of John and Seth Wells Cheney, Bos- 
ton, 1891, no. 23, first state. 


From ‘‘The Token,” 1830, opp. p. 31. 


+ The Young Princess. Engraved by Cheney. 
/ The Young Princess. / Published by Chas. 
Bowen. / Printed by R. Andrews. Line. 
Koehler 36, first state. 

From ‘‘The Token,” 1835, opp. p. 255. 


Dorothea. (Bathing). Painted by. ¥. 0G. 
Middleton.— Engraved by J. Cheney after 
Goodyear. / Bathing. / Printed by D. Stevens. 
Line. Koehler 42, second state. 

From “The Literary Souvenir,” 1838, opp. p. 145. 


Title vignette (Head of young lady). The 
Gift. / an / Annual / (vignette) / T. Sully 
J. Cheney. / Edited by Miss Leslie. / Phila- 
delphia. / E. L. Carey and A. Hart. / J. & 


W. W. Warr. / Printed by Butler & Long. 
(1840) Line. Koehler 53, second state. 

“The Gift” was one of those annuals — “Token,” 
eepsake,” “Atlantic Souvenir,” “H acinth,” 
“Opal,” “Moss Rose,” “Lady’s Cabinet Album,” — 
which came from the presses in such numbers during 
the period 1830-60. esides much poor production, 
these annuals show also some very pleasing work in 
line engraving. Durand, Smillie, and other noted 
American engravers signed a number of these plates, 
among which those by Cheney stand out by pleasing 
refinement, dignity, and restraint. Some of our 
American plates traveled even to France — as witness 
the ‘‘Keepsake Americain.” 


Lady reading. M. J. De Franca.—J. 
Cheney. / Lady Reading / Printed by D. 
Stevens. / Line. Koehler 55, first state. 

From “The Christian Keepsake,” 1840, opp. p. 43. 


Egeria. E. Malbone.—J. Cheney. / Egeria. 
/ Printed by Butler & Long. / Line. Koehler 
66, first state. 

From “The Gift,” 1843, opp. p. 102. 


Beatrice. (Fair Inez.) D. Huntington. — 
J. Cheney. / Fair Inez. / Printed by Butler & 
Long. Line. Koehler 72, second state. 


From Griswold, “The Poets and Poetry of Eng- 
land,” 1845, opp. p. 337. 


This, like other plates, was used for more than 
one publication, the title being changed. 


Edward Everett. R. M. Staigg.—J. Chen- 
ey. / Edward Everett ,fac-simile signature, 
/ Boston. / Published by Charles C. Little & 
James Brown. Line. Koehler 95, third state. 

From “The National Portrait Gallery,” 1852. 


Joseph Story. Joseph Story ;fac-simile sig- 
nature; / From a Crayon Drawing by W.W. 
Story. / Engraved by J. Cheney. Line. Koeh- 
ler 96, second state. 

From the “National Portrait Gallery.”’ 


ce 


Wall Case 29 
Duranp, ASHER Brown, 1796-1886: 


Durand, son of a watch-maker — in whose shop he 
“acquired some knowledge of the elementary proces- 
ses of engraving’ — was apprenticed in 1812 to Peter 
Maverick, whose partner (Maverick & Durand) he 
became five years later. He became interested in 
bank-note engraving, and was a member of Durand, 
Perkins & Co., and A. B. & C. Durand, Wright & Co. 
“As an engraver,” wrote Charles Henry Hart, ‘“Du- 


° 


rand was facile princeps among his countrymen.” 


About 1836 he exchanged the graver for the brush, 
painting portraits and landscapes, the latter with 
quite apparent love for his subject. 


The Grolier Club held an exhibition of Durand’s 
engraved work in 1895. It was a practically com- 
plete collection, with many added states, It included 
Durand’s early apprentice work — shop cards, ball 
tickets, and the like —as well as his important plates 
of the “Signing of the Declaration of Independence,” 
“Ariadne” and ‘“‘Musidora.” Subsequently this collec- 
tion was presented to The New York Public Library, 
through Mr. S. P. Avery, Sr., by Durand’s son John. 
(John Durand, with W. J. Stillman, edited “The 
Crayon,” the New York art magazine, in the Fifties.) 
Since then the collection has been increased, not only 
by added states, but by new titles, not listed in the 
Grolier Club catalogue. 

See also Schoff’s “Caius Marius,” Wall Case 37, 
note. 

For examples of Durand’s work as a painter see 
engravings by James Smillie (Wall Case 34) and 
Alfred Jones (Wall Case 36). 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 25 


Asher B. Durand. Waldo & Jewett pinx. / 
A. B. Durand. / Inciso in America. . .1820 dal 
suo amico Michele Pekenino... Line. Grolier 
Club. Engraved work of Asher B. Durand, 
New York, 1895, no. 1. 


This plate was used later by Pekenino as a portrait 
of Bolivar. 


For C. L. Elliott’s portrait of Durand, engraved 
by F. Halpin, see Wall Case 36. 


+ Cadwallader David Colden. 
Waldo & Jewett—Eng. by A. B. Durand. / 
Hon. Cadwallader D. Colden, Esqr. / From 
the Original Picture in the possession of the 
Corporation. Line. Grolier 24, second state. 


As used in the ‘‘Memoir of the Celebration of the 
Completion of the New York Canals,”’ 1825. 


Stephen Decatur. Painted by T. Sully, Eng. 
by A. B. Durand from a Copy by James 
Herring. / Stephen Decatur / Stephen De- 
catur facsimile signature; /...Copyright... 
1835 by James Herring. Line. Grolier 31. 1. 
Trial proof on India. 2. India proof before 
the name. 


Engraved for the ‘‘National Portrait Gallery of 
Distinguished Americans.” 


Philip Hone. Painted by Peale.— Eng. by 
A.B. Durand / The Honorable Philip Hone, 
/ Mayor of the City of New York in 1826. / 
Line. Grolier 50. 


Engraved for ‘‘Memoir of the Celebration of the 
Completion of the New York Canals.” 


William Jay. Branwhite del.—A. B. Du- 
rand sc. / Rev. William Jay. / Armstrong & 
Plaskitt Baltimore.../... (Copyright), 1833 
...f... Line. Grolier 56. 1. Proof before 
any inscription. 2. As described. 


Aaron Ogden. Painted and Engraved by 
A. B. Durand / Aaron Ogden. / Aaron Ogden 
rfac-simile signature; / (Copyright) ...1834 
by James Herring... Line. Grolier 78. 

Engraved for the “National Portrait Gallery of 
Distinguished Americans.’’ Original picture in New 
York Historical Society’s collection. 

Falls of the Sawkill. Painted by W. J. 
Bennett. Engraved by A. B. Durand. / The 
Falls of the Sawkill / Published by Elam 
Bliss New York / Printed by Wade. Line. 
Grolier 233. A later state, with ornamental 
border and with Steel Plate. Engd. for The 
New York Mirror. Printed by Illman & 
Pilbrow instead of Published, etc., as above. 


The Rescue. Edwéd Corbould — Durand & 
Co / The Rescue. | Worts Print. / Line. 5.14 
x 4.7. Not in Grolier. 


Wall Case 30 


Duranp, ASHER Brown, 1796-1886: 


Old Pat. Painted by S. L. Waldo. — Eng4 
by A. B. Durand. “Old Pat” in pencil. Line. 
Grolier 144. 


“This was the first plate engraved by Durand 
direct from a painting. The original is called ‘A 
Beggar with a Bone’, and is in the Boston Athenaeum.” 
— Grolier Club Catalogue. 


Painted by . 


+ Apollo Belvidere. Durand sc. / ATOAAQN 
Line. Grolier 165. 


Engraved for “Address before the American Acad- 
ay ie Arts, by Robert Ray, New York, Nov. 
t f ”? 


Specimen Sheet. Specimen of Bank Note 
Engraving / By A. B. & C. Durand, Wright 
i Co / New York July 1827 Line. Grolier 
178. 


The bank-note business at one time drew many 
artists into its service — Durand, Smillie, Casilear, 
Danforth, Balch, and various others. The Library’s 
Print Room contains a large number of original draw- 
ings for bank-note vignettes by Durand. 


Ariadne. Painted by J. Vanderlyn — Eng. 
by A. B. Durand. / With “Oct. 15, 1834” in 
pencil. India paper. Line. Grolier 237, sixth 
state. 


A noble translation, particularly successful in the 
rendering of flesh, of an early example of painting 
of the nude in this country. 


S. R. Koehler describes this as ‘‘the largest plate 
of such high, artistic achievement that ever appeared 
in America, of a purity and grace of graver-work in 
the figure of Ariadne—the landscape is mainly in 
etching —that need fear no comparison.’”? This was 
Durand’s last plate. 


Duranp, Cyrus, 1787-1868: 


Stauffer tells us that “he was a most ingenious 
mechanic, and among his earlier inventions was a 
machine constructed for Peter Maverick, then of 
Newark, for ruling straight and wavy lines in con- 
nection with bank-note work. This was the first of a 
long series of improvements and inventions intended 
for use in the production of bank-notes; and Cyrus 
Durand is credited with having made the first Ameri- 
can lathe.” 


+ Portrait, in border of machine-ruled wavy 
lines. Line. Oval. 2.2 x 1.13. 


Supposed by the Durand family to have been en- 
graved by Cyrus Durand. The ruled border was cer- 
tainly made with his machine for ruling of which 
Stauffer speaks (see note above). 


Wall Case 31 


HAVELL, RoBERT, JUNIOR, 1793-1878 : 


The story of his life is told in an article by George 
Alfred Williams in the “‘Print Collector’s Quarterly,” 
v. 6, 1916, p. 227-256. As the author states that he 
got his facts in part from the engraver’s family, this 
record replaces the contradictory ones in Stauffer and 
Thieme-Becker. 

Born in England, he was selected by Audubon to 
engrave in aquatint the plates for his “Birds of 
America.” The story of Audubon’s search for a 
suitable engraver, and of the trials and discourage- 
ments borne by artist and engraver, is entertainingly 
told by Mr. Williams. In 1839 Havell came to the 
United States, settling in Sing Sing, and _ becoming 
“a thoroughly representative citizen.”’ In this country 
he made some important contributions to the iconog- 
raphy of American cities. He died in Tarrytown, 
and lies buried in Sleepy Hollow Cemetery there. 


See also ‘‘Early Views,” no. 139, 140, 227. 


+ Panoramic view of New York. Panoramic 
View of New York. / (Taken from the North 
River.) / Entered. ..1844 by Robt. Havell... 
/ Published by Robt. Havell Sing Sing. New 
York. / and Wm. A. Colman 203 Broadway / 
Ackermann & Co. 96 Strand London. 
Stokes, Iconography mt: 685, plate 123a. 
Fifth state. Cut down. 

For first state, see ‘‘Early Views,” no. 227. 


26 THE NEW YORK PUBLIC LIBRARY 


+ Blue Grey Fly Catcher. Vignette. Over: 
Neo 17—Plate 84. / Under: Blue Grey Fly 
Catcher / Muscicapa Coerulea. Wils. / Male 
1 Female 2 / Black Walnut Juglaus nigra / 
Drawn from Nature and Published by John 
J. Audubon F. R. S. F. L. S.— Engraved, 
Printed & Coloured by R. Havell. Line. In 
color. 19.8 x 12.4. Upper section of the plate 
only, showing only the lettering above the 
picture. 

From: John James Audubon, Birds of America 


from original drawings. London, Published by the 
Author, 1827-30, v. 1. 


The plates for this famous folio edition of Audubon 
were executed in England, before Havell left that 
country for the United States. 


~BatcH, Vistus, 1799-1884: 


Balch worked as an engraver successively in Utica, 
Albany and New York. He was a member, at various 
times, of Balch & Co., Balch & Stiles, and Balch, 
Rawdon & Cc. Among his plates were some New 
York City views, after A i avis, done for the 
“New York Mirror.” This periodical, in the Thirties, 
eae a number of interesting views of the metro- 
polis. 


Garret D. Wall. Drawn by C. Fendrich — 
Engraved by V. Balch N. Y. / Garret D. Wall 
tfac-simile signature}. Line. Stauffer-Field- 
ing 102. 

The Library also has an impression with Engd for 
the U. S. Magazine & Democratic Review / J. & 


H. E. Langley New York added below. This state is 
not noted in Stauffer-Fielding. 


+ Bank-note vignette. Man seated in fore- 
ground, with tools about him; ship being 
launched in background. Line. 1.3 x 2.4. 


+ Bank-note engraving. Landing of Colum- 
bus. After the painting by John Vanderlyn, 
in the Capitol at Washington. Line. 2.1 x 
4.8. 


7 City Hall Staircase. C. A. Busby del. — 
Balch Rawdon & Co fe. / City Hall Stair 
Case. Line. 2x 28. 

Again a case of an artist going into a partnership 


for the production of bank-note work. Noteworthy 
instances are A. B. Durand and James Smillie. 


* St. Johns Church. E. W. Bridges del — 
Balch Rawdon & Co. sc. / St Johns Church. / 
Line. 1.14 x 2.6. 


BARBER, JOHN Warner, 1798-1885: 


Barber was apprenticed to Abner Reed, and in 
1823 established himself in New Haven. He soon 
became interested in historical work, driving about 
the country for data. That recalls Benson J. Los- 
sing’s similar activity somewhat later. Barber pub- 
lished a number of books, some illustrated with copper- 
plates signed by himself. For instance, “History and 
Antiquities of New Haven” (1831) and “Connecticut 
Historical Collections” (1836). Barber also engraved 
on wood. 


Prospect Hill, East Haven, Conn. Drawn 
& Engraved by J. W. Barber N. Haven / 
Prospect Hill. East Haven, Con. Line. 3.5 
x 6.14. 


+ Public Square, New Haven. Over: Pl. IV. 
Under: J. W. Barber del et Sc. / Public 


Square or Green. / in New Haven Con. Line. 
In color. 2.11 x 4.2. 


From ‘‘Views in New-Haven and its Vicinity... 


Drawn and engraved by J. W. Barber” (1825: 5 
plates). These plates appear again, without plate 
numbers, and with other changes in lettering, etc., in 
“History and Antiquities of New Haven,” by Barber 
(1831). That is, excepting the present print, for 
lee a different plate was substituted in the 1831 
00 . 


Wall Case 32 


MAVERICK, SAMUEL: 


Appears in the New York City directory, 1805-47, 
according to Stauffer, first as “copperplate printer’ 
and later as “engraver and copperplate printer.” 

Maverick, Durand, Smillie, Gimbrede, Hill are 
names that recall each two or more engravers. Such 
instances of art “running in the family” were yet 
more common in eighteenth-century France. 

See also ‘‘Early Views,” no. 184. 


+ Capture of Burgoyne. Saml Maverick Sc. / 
Capture of Burgoyne. Line. Stauffer 2269. 


From “American Military Biography,” Philadel- 
phia, 1831. 


RAWDON, FREEMAN: 


Born 1804; living in 1860. Was member of firms 
of Rawdon, Clark & Co., Rawdon, Wright & Co., 
Rawdon, Wright & Hatch, etc., all prominent in 
bank-note work. 

For Balch, Rawdon & Co., see Wall Case 31. 


Broadway, New York. A. J. Stansbury — 
Rawdon, Clark & Co Sc. / View in Broad 
Way near Grace Church. Line. Stauffer 2644. 


The Bracelet. Thomas S. Cummings N. A. 
— Rawdon, Wright Hatch & Smillie. / The 
Bracelet / Boston. Published by D. H. 
Williams. Line. 4.4 x 3.6. 


HatcH & SMILuier: 
See_also Rawdon, Wright, Hatch & Smillie in this 


case, George W. Hatch in Wall Case 37, and James 
Smillie in Wall Case 34. 


+ Custom House, Wall St. Over: Plate 13th. 
Under: Drawn by C. Burton — Engraved by 
Flatch & Smillie / Custom House, Wall St / 
New York. / New York Bourne Broadway / 
Entered...1831 by G. Melksham Bourne... 
Line. "Ziad Ss: 


} Unitarian Church, Mercer St. Drawn by 
C. Burton.— Engraved by Hatch & Smillie. 
/ Unitarian Church, Mercer St / New York. 
/ New York Bourne Broadway. / Entered... 
mee by G. Melksham Bourne... Line. 2.11 
x 3.6. 

Printed on same sheet with preceding. 


DanrortH, Mosety Isaac, 1800-62: 


Danforth, apprenticed in 1818 to Asaph Willard of 
Hartford, struck out for himself in 1821 in New 
Haven, soon moved to New York, and in 1827 to Lon- 
don_ where he remained about ten years. Returning 
to New York, he became interested in bank note 
engraving, and was a member of Danforth, Bald & 
Co., Danforth, Wright & Co., Danforth, Underwood 
& Co., and Danforth, Perkins & Co. The last named 
was one of the concerns which in 1858 were con- 
solidated into the American Bank Note Co 

Danforth was one of the five engravers who were 
among the original twenty-four members of the Na- 
tional Academy of Design —a noteworthy proportion, 

The proofs here shown form part of the collection 
of prints by this artist presented to the Library by 
his son-in-law Dr. Henry M. Dodge in 1927. 


reat 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 27 


Washington Irving. Painted by C. R. Leslie 
R. A.— Engraved by M. I. Danforth / Wash- 
_imgton Irving Esqre / London. Published 
July 12th 1831. by Colnaghi, Son & Co. Print- 
sellers to their Majesties. Pall Mall East. 
Line. Stauffer 445; before all letters. 


Don Quixote. C. R. Leslie R. A. ** M. J. 
Danforth / Don Quixote. / Printed by Butler 
& Long. Line. Stauffer 451; before all let- 
ters. 


A portrait. Girl with parrot. Painted by 
C. R. Leslie R. A.— Engraved by M. I. Dan- 
forth. / A Portrait. Line. Stauffer-Fielding 
328; before all letters. “Lord MHolland’s 
Daughter” in pencil. 


The three preceding items accentuate the popularity 
of the genre pictures and literary illustrations by 
Leslie, the artist of English birth who was for a 
while in this country and studied under the American 
artists West and Allston in England. 


Landing at Jamestown. John G. Chapman, 
pinxt.— M. I. Danforth, sculpt. / Landing at 
Jamestown. / Engraved for the New York 
Mirror. Line. India paper. Stauffer 458, 
without last line of inscription. 


Business card. Vignette. B. Hudson Jr & 
Co / Carpeting & Dry-Goods / Opposite the 
Post Office / hartford sic!; Conn Line. 
Plate 2.12 x 4.7. 


tDraped figure of young boy leaning on 
stone monument.; Vignette. Line. Plate 3.2 
x 4.10. 


Wall Case 33 
PARADISE, JOHN WESLEY, 1809-62: 


Son of John Paradise, portrait painter, and pupil 
of A. B. Durand. Especially known as an engraver 
of portraits, he ultimately turned to bank-note en- 
graving. He was one of the five engravers among the 
founders of the National Academy of Design. 


+ Elias Dexter. Oval in rectangle. Painted 
by J. T. Peele—Eng. by J. W. Paradise. / 
Elias Dexter. Line. Stauffer 2396. 


PRUD’HOMME, JOHN FRANCIS EUGENE, 1800- 


88: 


Apprenticed to his brother-in-law Thomas Gimbrede. 
Engraved stipple portraits and plates for annuals, 
later turned to bank-note work, and was employed by 
the Treasury Department, Washington, 1869-85. Was 
a National Academician at a time when engravers 
were much more apt to win that honor than later. 


B. C. Cutler. A. Dickinson pinst —J. F. E. 
Prudhomme sc. / most affectionately yours / 
BC Cutler. Last two lines fac-simile auto- 
graph.; Stipple. Stauffer 2566. 


Mrs. Rumpff. New York. Engraved by 
J. F. E. Prudhomme from an Original Pic- 
ture in the possession of J. J. Astor. Esq’ 
1839. / Mrs. Rumpff. / (Miss Astor, At The 
Age of 22) / J. S. Taylor, N. York. Stipple. 
Stauffer 2605, second state; publisher erased. 


The velvet hat. Jas Inskipp del.—J. F. E. 
Prudhomme / 1839 / The Velvet Hat. / R. 


Andrews Print. Line. 
1236. Without last line. 


“His best work is represented by his small plates 
executed for the Annuals, about 1839. Among these 
‘The Velvet Hat’ and ‘Friar Puck’ are to be specially 
admired.’’ — Stauffer. 


CASILEAR, JOHN W., 1811-93: 


This noted line engraver became interested in 
painting, studied in Europe in 1840 and 1857, and 
made his mark as a landscape painter. He became a 
National Academician. Various American engravers 
cast ambitious eyes at oils and canvas, but Durand 
and Casilear won noteworthy success in painting. 


For an engraving by Smillie after a painting by 
Casilear see Wall Case 34. 

A Sibyl. Painted By Dan! Huntington — 
Engraved By J. W. Casilear / A Sibyl. / 
From the original picture —in the possession 
of the / American Art Union — published ex- 
clusively / for the Members — for the year 
1847. / (Seal of American Art Union New 
York 1839) / Entered...1847... Line. 9.14 x 
7.14. W. S. Baker, American engravers, Phil- 
adelphia, 1875, p. 26. Signed in pencil by both 
artists. 


Stauffer-Fielding 


+ Three female figures. Bank-note vignette. 
Three seated female figures, one playing ona 
lyre. J. W. Casilear Del et Sculpt. Line. 
fae ai A Vl 


Casilear was at one time a member of the bank- 
note firm of Tappan, Carpenter, Casilear & Co. 


+ Farmers. Drawing for a bank-note vig- 
nette, representing three men harvesting, one 
mowing with a scythe. Original drawing. 
Loe Sah A 


The demand for bank-note work proved a potent 
factor in the technical development of America’s line 
engravers, and in the designing of vignettes for the 
notes many able artists had a hand. Durand, for 
example, and F. O. C. Darley. The Library’s Print 
Room has a number of original drawings of bank- 
note vignettes by Durand, and some by Darley. 


Dopson, RicHarD W., 1812-67: 


Stauffer tells us that he ‘‘made some of the best 
portraits in the National Portrait Gallery, published 
by Longacre & Herring.” 

Artists, like other people, have their weak moments. 
In ‘‘Graham’s Magazine,” Jan., 1843, appeared a 
group of five ‘“‘American authoresses,’”’ engraved by 
Dodson. The production, which is topped by a curtain 
pole, from which the curtain has been drawn back, 
aroused the indignation of one of the subjects. Frances 
Sargent Osgood. She expressed herself in verses be- 
ginning: 

“We've let you draw our faces, sir, 
Now draw the curtain, too!” 

The poem was re-issued by the Elzevir Press 
(Worthington C. and Paul L. Ford), Brooklyn, in 
1885, in an edition of ten copies. A little contribution 
to gaiety in the history of American graphic art. 


+ William Henry Harrison. Engraved by 
R. W. Dodson from an original Portrait by 
J. R. Lambdin painted for the National Por- 
trait Gallery. / Major Genl. William Henry 
Harrison / W. H. Harrison ;fac-sim. signa- 
ture}. Line. Stauffer 492. 


CusHMAN, GeorcE H., 1814-76: 


Pupil of Asaph Willard. “An admirable line- 
engraver,” says Stauffer, “‘but chiefly known as a 
miniature painter of high rank.” 


+ Young American on the Alps. Oval in 
rectangle. Painted by G. P. A. Healy — Eng 


28 THE NEW YORK PUBLIC LIBRARY 


by G. H. Cushman / Young American on the 
Alps. / Printed by R. Neale. Line. 4.13 x 
3,42. 


DaINTy, JOHN: 


“Was engraving landscape in a mixed manner, 
about 1840, in Philadelphia.” — Stauffer, 


The “mixed manner” in time, in the hands of 
some engravers, became a hodge-podge of line, stipple, 
mezzotint, etching, rouletting, and machine-ruling, 
used to get results that were as quick as they were 
characterless and dull. 


} The Young Angler. The Young Angler. / 


Eng¢ & Printed for Godey’s Lady’s Book by 
S. Dainty Line. Sky in color, 6.2 x 4.14. 


Wall Case 34 
SMILLIE, JAMES, 1807-85: 


Born in Scotland, came to Quebec in 1821, and 
to New York in 1829. Noted particularly for his 
landscape work, and was one of the engravers who 
became National Academicians. After 1861 he de- 
voted himself to bank-note engraving. The Library 
poaacencs a large collection of his work, donated by 
is son James David. 


See also Hatch & Smillie, and Rawdon, Wright, 
Hatch & Smillie, in Wall Case 32. 


See also ‘Early Views,” no. 230. 


Certificate. On the / (crucifixion of, our 
Saviour and the two Thieves. / 26 lines of 
text. / Eng4 by J. Smillie Junr — Quebec. 
March 1823 / Published by W. Gale: School- 
master, Hope Street, Quebec. The upper left 
corner of the print with part of the lettering 
torn off and the corner filled in with a blank 
sheet of paper on which the following note 
appears. “I was six weeks engraving this 
plate for which I received ten dollars.” Line. 
16.7 xs, 


The Voyage of Life — Youth. Painted by 
Thomas Cole —Engraved by James Smillie. 
/ The Voyage of Life—Youth. / From the 
original painting distributed — by the Ameri- 
can Art Union. / Published exclusively for — 
the Members of 1849 (Seal of American Art 
Union of New York 1839) Printed by J. 
Dalton. / Entered...1850... Line. 15:4 x 
22.14. 


This is one of Smillie’s four engravings after 
Cole’s series “The Voyage of Life.’ Even to-day 
there are occasionally heard faint echoes of the interest 
and admiration which these paintings aroused in their 
day. Besides the artistic ability of Cole, who was 
noted as a landscape painter, the subject of this 
allegorical series naturally had much to do with its 
popularity, 


Dream of Arcadia. Painted by Thomas 
Cole.— Engraved By James Smillie / Dream 
of Arcadia. / From the original picture be- 
longing to the American Art Union and in- 
cluded in the distribution list 1850 / American 
Art Union 1850 / Printed by W. R. Smith 
Line. 6.8 x 10.6. 


These premium plates of the American Art Union 
must have done much to bring some idea of art to a 
people hardly emerged from the pioneer stage and 
groping after the finer things of life. 

Dover Plains. Painted by A. B. Durand, 
P.N.A.D.— Engraved by James Smillie / 


Dover Plains. / Engraved from the original 


picture in the possession of Daniel Seymour 
Esqre / American Art Union 1850 / Printed 
by W. E. Smith / Entered. ..1851 by the 
American Art Union... Line. 6.14 x 10,7. 


My own green forest land. A.B. Durand, 
P.N.A.D.— James Smillie. / “My own green 
Forest Land.” / New York, D. Appleton & 
Co. Signed in pencil by both painter and en- 
graver, the latter adding the year “1847.” In 
pencil by the engraver’s son, James D., “Fitz- 
green Halleck’s poems.” Line. 5.3 x 4.4. 


Landscape. Oval in rectangle. J. W. Cas- 
lear Pinxt—J, Smillie Sculpt. Signed in 
pencil by both artists. Below in pencil, by the 
engraver’s son James D., “For the Ladies 
Repository, Cinn. O.” Line. 6.4 x 5. 

The painting here reproduced is of the period 


‘ef the ‘Hudson River Sc ool.”” Samuel Isham refers 


to the mixture of patriotism and art of the landscape 
painters of the time in this country, who had a “great 
personal delight in the American country.” The same 
authority says of Casilear that he shows clearl “the 
influence of Cole and Durand, and es ectaliy his 
training as an engraver under the latter, in the care- 
ful, minute finish of his views of Lake George.”’ 


Wall Case 35 


SARTAIN, JOHN, 1808-97: 


Born in England, he came in 1830 to peared a 
where he died. He was a very busy man, not only in 
engraving (and he produced many plates) but as a 
publisher of magazines. He was interested in ““Camp- 
bell’s Foreign Semi-Monthly Magazine” (1843-), the 
“Eclectic Museum,” and “Sartain’s Union Magazine” 
(1849-52). He did many plates for his magazine 
and for other publications, and a number of large 
“framing prints,” such as the “Marion” here shown. 
Most of such framing prints in this country were 
engraved in line. Besides Sartain, Thomas Doney did 
a few in mezzotint. 

Gen. Marion in his Swamp Encampment. 
Painted by John B. White Charleston, S.C. 
— Engraved by John Sartain / Gen. Marion 
in his Swamp Encampment inviting a Brit- 
ish officer to dinner, / published by the Apol- 
lo Association for the Promotion of the Fine 
Arts in the U.S. / Ne, 1. 1840. / Entered... 
1841 by the Apollo Association... Mezzo- 
tint. 16.123 207: 


t+ John Sartain. On Steel for the Eclectic 
after an Ambrotype by Henry Sartain Phila 
/ John Sartain (Facsimile autograph). In pen- 
- ; ays John Sartain’s Compts” Mezzotint. 
oie sal 


t Adam Woodcock. Painted by W. Bradley. 
— Engraved by J. Sartain / Adam Woodcock. 

From an Original Picture in the Possession 
of E. L, Brinley Esqr Mezzotint. 6.6 x 5. 


Sir Thomas Lawrence. Painted by Sir Thos 
Lawrence — Engraved by J. Sartain, Philade 
/ To the Members of the Pennsa Academy 
of Fine Arts / The Artists’ Fund Society, and 
the Artists and Amateurs’ Assoc” of Philada / 
This Print of the late Sir Thos Lawrence | 
Prest of the R! Acy London / is respectfully ' 
eee by / The Engraver Mezzotint, 
12.8 x 10. 


Sartain was a busy man, turning out a large num- 
ber of plates, and occupied also as a publisher of 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 29 


magazines, but even in the rush of production (one of 
his plates is actually said to have been mezzotinted 
in one night) he managed to prove his able craftsman- 
ship in a number of mezzotints, especially the larger 
portraits of Gilmor and Lawrence, both after Law- 
rence. 


Albert Barnes. Painted by J. Neagle — 
Engraved by J. Sartain, Sansom St Phil. / 
Albert Barnes (Fac-simile autograph, / Pas- 
tor of the 1st Presbyterian Church, Phila- 
delphia — Printed by I. Sansom / Pubé Septr 
1837 by J. S. Earle. 16 S. 5th St Phila Mezzo- 
tint. 9. x 7.8. 


Common Deer. Over: Pl. 1. Under: 
Doughty pinxt.— Sartain sc. Common Deer. 
In pencil “1829.” Line engraving. In color. 
7.2 x 8.14. 

Pencil note by D. M. Stauffer: ‘‘First line plate 
made by J. S. in America.”’ 


Thomas Doughty himself: drew animal studies on 
the lithographic stone —one has to live —but pre- 
sumably he did with most gusto his landscape paint- 
ings, the “‘poetic and silvery tones’ of which were 
noted at the time. 


Wall Case 36 


HALpPIN, FREDERICK, 1805-80: 


Born in England (like not a few even of these 
later engravers, such as Smillie and Jones); died in the 
United States in 1880. He came to New York about 
rah and was for a while in the employ of Alfred 

ones, 


Asher B. Durand. Oval in rectangle. En- 
tered...1865 by Sam P. Avery.../ Painted 
by C. L. Elliott — Engraved by F. Halpin. / 
Published By Sam P. Avery 694 Broadway 
New York 1865. India paper. Signed in 
pencil by both artists. Line. 8.11 x 7.2. Gro- 
lier Club, Catalogue of the engraved work of 
Asher B. Durand, New York, 1895, no. 2. 


There is a natural subject interest in this print. 
Moreover, the name of the publisher, Samuel P. 
Avery, takes us back to the days when that con- 
noisseur and generous patron of the arts, — prac- 
tically the founder of this Library’s Prints Division, 
— was in the picture business. 


Jones, ALFRED, 1819-1900: 


Born in England; died in New York. In 1834 he 
was apprenticed to the firm of Rawdon, Wright, 
Hatch & Edson, and later studied drawing at the 
Academy of Design, of which institution he became 
an Academician. Among his interesting large fram- 
ing prints are “Farmer’s Nooning” (Apollo Associa- 
tion, 1843), after W. S. Mount; ‘“‘Mexican News’’ 
(American Art Union, 1851), after R. C. Wood- 
ville; and “Sparking” (1844), after F. W. Edmonds; 
all three, examples of that contemporary genre paint- 
ing which busied itself with the life of the American 
people, and which these engravings brought to a 
greater audience. 


William Cullen Bryant. Oval in rectangle. 
William Cullen Bryant. ,fac-simile auto- 
graph; / Painted by A. B. Durand / Engraved 
by Alfred Jones and S. A. Schoff / Published 
by the Century / Entered...1858, by John 
Durand... On India paper. Signed in pencil 
by A. B. Durand. Line. 8.14 x 7.2. Baker 
2 (Cj. 

The Capture of Major André. Painted by 


A. B. Durand—-Figures Eng4 by Alfred 
Jones. — Landscape Eng4 by Smillie & Hin- 


shelwood. / The Capture of Major André / 
From a painting by A. B, Durand in the pos- 
session of the Honble. James K. Paulding / 
Published by the American Art Union ex- 
clusively for the members 1845.— Printed by 
W.E. Smith. / Entered. ..1846 by the Ameri- 
can Art Union.../ In centre: seal of Ameri- 
can Art Union Line. 13.5 x 17.12. Baker 
3. Unfinished state, with sky in background 
and faces of all the figures filled in. Proof 
before all letters. 

The Apollo Association, and later the American 
Art Union, issued a number of large “‘framing prints” 
as premiums in the Forties and Fifties of the nine- 
teenth century. In these prints the works of American 
painters such as Mount, Edmonds, Woodville, Ran- 
ney, and others were given a wider circulation. These 
were genre pieces, racy and of the soil, and they were 
presented by engravers of ability. Besides offering a 
record of a period of American painting and a repre- 
sentation of the state of steel engraving in the United 
States at the period, these engravings also constitute 
valuable documents toward the social history of the 
American people. It should be noted that there were 


also an Art Union of Philadelphia and a Western Art 
Union. 


The Capitol, Washington. Copyrighted 


‘1898 — Alfred Jones Engr. / The Capitol. / 


Washington, U. S. A. India. Line. 12.2 x 


16.12. Baker ,12a). 


Wall Case 37 
KnEAss, WILLIAM, 1781-1840: 


Worked in Philadelphia, in line and in aquatint, 
and in 1824 succeeded Robert Scot as engraver and 
die-sinker at the U. S. Mint. Member of firms of 
Kneass & Delleker and Kneass, Young & Co. 


Mercury. W. Kneass sc. / Dum brevis esse 
laboro obscurus sio. / Pub. by Wm. Duane 
Market Str. Philad. Line. Stauffer 1671. 


Humpurys, WILLIAM, 1794-1865: 


Humphrys, we are told, was born in Dublin, 
learned engraving from George Murray in Phila- 
delphia, went to England after 1823, returning to the 
United States in 1843, and in 1845 went abroad 
again, dying in Italy. 

Israel Putnam. Engraved by W. Hum- 
phreys from a sketch by Col. J. Trumbull. 
P.A.A.F.A. / Major General Israel Putnam. 
/ Israel Putnam fac-simile signature). Stipple. 
Stauffer 1472. 

From ‘‘National Portrait Gallery,” 1834. 

Stauffer says that this Humphreys [note the 


added_e] may be another man, since it is in stipple, 
and Humphrys worked in line. 


BANNISTER, JAMES: 

Born in England; living in New York in the early 
twentieth century ‘‘at a very advanced age.” 

Daniel Sharp. Oval in rectangle. Bannister 
sc. | Yours Affectionately / Dan! Sharp ,2 
lines, facsimile autograph, / Engraved Ex- 
pressly for the Baptist Memorial Line. 5.14 x 
4.4, 


Thomas Hogg. Vignette. J. Bannister. / 
Thomas Hogg Facsimile autograph. 
Printed by Wellstood & Peters. ‘Line. 3 x 
fm ee 


The frequent appearance of the printer’s name on 
these engravings of the middle of the nineteenth 
century is very noticeable. 


30 THE NEW YORK PUBLIC LIBRARY 


PEASE, JOSEPH Ives, 1809-83: 


Apprenticed to Oliver Pelton, Hartford; went to 
Philadelphia in. 1835; in 1848 to Stockbridge, Mass. 
Did much work for annuals, and later devoted himself 
to bank-note engraving. 


Rustic Civility. W. Collins Pinxt—J. J. 
foe sculpt / Rustic Civility. / Line. 3.5 x 
47. 


Mumble the Peg. Oval in rectangle. H. 
Inman —J. I. Pease. { Mumble the Peg. / 
Printed by Butler & Long. Line. 4.2 x 328. 


Another one of the many engravings in which 
American customs—in this case a boy’s game — 
have been held for us by American painters and trans- 
lated into black-and-white by American engravers. 


ScHoFF, STEPHEN ALOoNzo, 1818-1905: 


Worked under Oliver Pelton and Joseph Andrews. 
He could engrave both in the regulation linear way 
and in a manner of noteworthy freedom (see note 


to print here shown), and he also produced a number 
of etched plates reproducing paintings. Much of his 
life was devoted to bank-note engraving. 


See also portrait of W. C. Bryant, by Jones and 
Schoff, in Wall Case 36. 


Caius Marius on the Ruins of Carthage. 
J. Vanderlyn Pt—S. A. Schoff Se / Caius 
Marius / on the Ruins of Carthage. / from / 
Vanderlyns — Picture / Published by the — 
Apollo Association / exclusively for the — 
members of the year / 1842—J. R. Burton 
Pir / Seal of Apollo Association— New 
York 1839 Proof before all letters. India. 
Signed in pencil by both artists. Line. 13.2 x 
9.14. 


Stauffer tells us that Schoff did this “with the 
kind aid of Mr. A. B. Durand,” and that he con- 
sidered this “his best plate.” 


It is interesting to compare this plate, engraved 
in the regulation, formal manner, with Schoff’s “Bath- 
ing Boys,” after W. M. Hunt. In the latter he varied 
the line, breaking and twisting it to translate tones, 
color-values, even brush-marks. This abandonment of 
the recognized conventions to express textures shows 
a spirit akin to that of the ‘“‘new school” of wood 
engraving of the Eighteen eighties in this country. 


Hatcu, Georce W., 1805?-67: 


Member of firms of Hatch & Smillie (see Wall 
Case 32) and Rawdon, Wright, Hatch & Smillie (see 
Wall Case 32), and one of the founders of the Ameri- 
can Bank Note Co. 


Martin Van Buren. Painted by Henry In- 
man. / Engraved by George W. Hatch. / 
Martin Van Buren ? of New-York. / Secre- 
tary of State of the U.S. Line. 3.12 x 2.12. 


The Devil’s Pulpit. Drawn by Neilson. / 
Engraved by G.W. Hatch / the Devil’s Pul- 
pit / near Weehawken. Line. 2.11 x 3.13. 


ARMSTRONG, WiLLiIAM G.: 


Born 1823. Was a pupil of J. B. Longacre and 
was much occupied with bank-note engraving. 


Colonel Armand ;Taffin; Marquis de la 
Rouarie. In uniform and wearing a fur 
busby. Vignette. Proof before all letters. 
Line. 4 x 2.12. 


Floor Case A 


{+ (THe First FOUR SHILLINGS CAST AT THE 
New ENGLAND MINT UNDER THE DIRECTION 
OF JOHN HULL, MINT MASTER. Being speci- 
mens of the earliest known engravings 
made in the British North American Col- 
onies. Possibly by Joseph Jenckes. 1652? 


Showing the “N E” shilling, the “Willow Tree,’”’ 
“Oak Tree’ and “Pine Tree” shillings, the three last 
dated 1652. Stauffer states, 1, p. xxi, 140, that 
cai hs Jenckes was induced to come from Hammer- 
smith to establish the first “foundry and forge” in the 
American Colonies and in 1652 made the dies for the 
Pine Tree shilling at the Lynn iron-works. 


The first coins made in America for the use of the 
British colonists were issued in pursuance of an act of 
the General Court of Massachusetts in the session of 
the 26/27 of May, 1652, in response to the eiepariee | 
demands of trade, the confusion arising from a lac 
of standardization of values and the importation of 
foreign coin, including much that was base and 
counterfeit. Upon its own res onsibility the Massa- 
chusetts Court ordered “That a Mint house be Er 
at Boston... And all persons whatsoever have liberty 
to bring into the sayd Mint, all bullion, plate or span- 
ish Coyn, there to be melted and brought to alloy of 
sterling Money...into twelve penny, six penny and 
three penny peices [sic] which shall be stamped with a 
double Ring on either side with this inscription 
MASSACHUSETS, & a tree in the céter on the 
one side, NEW ENGLAND with the year of our Lord, 
and the figure x11. vi. 111. according to the Value 
of each peice [sic] on the other side, together with a 
privy mark...[1652.54]” —cf. The Book of the 
General Lavves and Libertyes concerning the inhabi- 
tants of the Massachusets...Revised to 1649... Cam- 
bridge, 1660. It is generally conceded that there were 
two distinct groups of these first coins, (1) The New 

ngland, or N E series, without date, (2) the Pine 
Tree, consisting of the so-called Willow, Oak and Pine 
Tree varieties, all bearing the same date, 1652, for 
about thirty years. Priority of issue is not proved 
by direct evidence and opinions differ as to sequence, 
SoS: Crosby, in his The Early Coins o America, 
Boston, 1875, gives a detailed study of the laws, docu- 
ments, etc., with tables of varieties of the different 
pieces. See also Memoir and Diaries of John Hull 
in American Antiquarian Society, Collections, 1857, 
III, p. [109]-316. 


Lent by William B. Osgood Field, Esq. 


Mr. Ricwarp Martuer. ,Attributed to John 
Foster. Before 1670. Facsimile. 8.2 x 5.14. 
(In: Samuel A. Green, Ten fac-simile re- 
productions. Boston, 1903, pl. r1-2).) 


Earliest known woodcut portrait made in the 
English colonies. John Foster (1648-1681) was an 
engraver and first printer at Boston. 


Stauffer 1009; 1, 87-90. 


trEARLy AMERICAN BOOK PLATE. Nicholaus 
Lynde, ter suos Numerat. 1690, 3.4 x 1.1. 


Two lines within a border of type ornaments. 
Mutilated. 


This dated book plate of 1690 is the ninth in order 
of the known, identified and dated American 

lates, the earliest of these being the plate of the Rey. 

Tohn Cotton, dated 1674. cf. American Antiquarian 
Society, Proceedings, 1923. n. s. XXxiii, p. 270. 


[SEAL, OR ARMS OF THE MASSACHUSETTS CoL- 
ONY. Engraving attributed to John Foster. 
Facsimile.; 2.12 x 2.4. (In: The General 
Laws And Liberties of the Massachusetts 
Colony... Cambridge Printed by Samuel 
Green... 1672., verso of title-page. ,Re- 
printed : Boston, 1887.,;) First known state ; 
with low round trees, stocky Indian, etc. 


PHILIP HONE, ENGRAVED BY ASHER B. DURAND 
AFTER PAINTING BY PEALE 


LANDSCAPE, ENGRAVED BY JAMES SMILLIE 
AFTER PAINTING BY J. W. CASILEAR 


a a 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 31 


Not in N. Y. P. L. copy of the original 
1672 edition of the General Laws. 


“James Blake in his Annals of Dorchester, Boston 
1846, records under the year 1681, the death of John 
Foster ‘School-master of Dorchester, and he that made 
the then Seal or Arms of y® Colony, namely an 
Indian with Bow & Arrow etc.’... It is known that 
the origin of the Colonial Seal dates back to the 
earliest days of the Charter, so that this allusion 
must be to the engraver, and not to the designer.” — 
S. A. Green, Ten fac-simile reproductions, Boston, 
1961, p. 9; see also his John Foster, p. 11-12. 


[SEAL, OR ARMS OF THE MassacuHuseEtts CoL- 
ony. Engraving attributed to John Foster., 
2.9 x 2.4. (In: Increase Mather, A Brief 
History Of The VVarr with the Indians in 
Nevv England... Boston, Printed and Sold 
De oen Poster... 1676, p. 15.) Second 
state; with tall trees, slender Indian and 
staff. 

A later state with noticeable differences in trees, 
Indians, lettering, etc., is found on ‘An order for the 
holding of courts and executive justice. Published 
the 10th of June 1686.” This is page 3 of a volume 
without titlepage found in the State Library of New 
Hampshire which issued this page in facsimile for 
the purpose of identification. 

Stauffer 1, p. 88-89. 


A Map OF New-ENGLAND, BEING THE FIRST 
THAT EVER WAS HERE CUT AND DONE BY THE 
BEST PATTERN THAT COULD BE HAD... 12 x 
15.5. (In: William Hubbard, A Narrative 
Of The Troubles With The Indians in 
New-England... Boston; Printed by John 
Foster... 1677, frontispiece. ) 


The first map engraved and printed in New Eng- 
land. Credited to John Foster. Known as the ‘“‘White 
Hills Map.” 


“The map... was undoubtedly engraved by Foster 
who printed the book. The evidence to prove this is 
wholly circumstantial, but all the various clews leading 
to the proof, point to the same conclusion... There 
are two editions of the map, one slightly smaller than 
the other...’?—S. Green, John Foster, Boston, 
1909, p. 15. ‘With regard to the proper maps belong- 
ing to the Boston and London editions respectively, 
my own opinion fully coincides with that of Joseph 
Sabin and other booksellers who have had good oppor- 
tunities for examining different copies of both_ edi- 
tions. I know of four copies of the Boston edition 
which have or did have the ‘White Hills’ map in its 
proper place facing page 1, with the original stitching; 
and I know of a larger number of copies of the Lon- 
don edition containing the ‘Wine Hills’ map, in 
similar condition. Most other copies of both editions 
have been rebound, and either lack the map or have 
it inserted out of place... Mr. Sabin states clearly 
that as the mercantile value of the London edition is 
less than that of the Boston edition, the map is often 
taken out of the former to insert in the latter.’? — 
W. Eames in S. A. Green, John Foster, p. 78. 

Stauffer 1010. 


A Map OF New-Encranp... 12.10 x 15.4. 
(In: William Hubbard, A Narrative Of 
The Troubles With The Indians in New- 
England... Boston, 1677, frontispiece.) 
The preceding map, re-engraved for the London 

edition of the Narrative, inserted in a rebound copy 


of the original Boston edition. 
Known as the “Wine Hills Map.” 


{+ Portrait of HucH Peters. Signed: J. F. 
Sculp. 4.6 x 3.8 (with text). (In: Hugh 
Peters, A Dying Fathers Last Legacy... 
Boston: Printed by B. Green... 1717, 
frontispiece. ) 


Hugh Peters was executed at London in 1660; John 
Foster died in 1681. There was a London edition, 


not seen, published in 1660 which may have con- 
tained a portrait copied in Boston. Though not at- 
tributed to Foster it is possible that he made this. 


+A Mapp or Rariton River...,Photograph.; 
OAS E7515 


_“Although...[the Bradford print] was long con- 
sidered to be the earliest map or plan engraved upon 
copper in this country, it has been relegated to second 
place by the recent discovery of a map of the Raritan 
River, engraved nearly forty years earlier. This so- 
called ‘map of the Raritan River,’ the first map or 
plan, indeed the first engraving on copper (of 
which we have any record) made in America [i.e. 
English America] was engraved by R. Simson in 
1683 from a plot or drawing by John Reid. It is fully 
described in a paper read by Charles Harper Walsh 
before the Columbia Historical Society of Washing- 
ton, on March 21, 1911, and published by the Society 
in pamphlet form in 1912. But two copies of the 
map are known; one in the Map Division of the 
Library of Congress, the other in the collection of 
the New Jersey Historical Society.”” — JI. N. P. Stokes, 
The Iconography of Manhattan Island, New York, 
1914, v. 1, p. 254. 


tPORTRAIT OF INCREASE MATHER BY THOMAS 
EmmMEs, oF Boston. 1701. Facsimile. 5.6 x 
3.5. (In: Kenneth B. Murdock, The por- 
traits of Increase Mather... Cleveland, 
1924, no. ;7.3) 


The original portrait was published as a frontis- 
piece in Mather’s The Blessed Hope, published at 
Boston in 1701, and in his Icabod, Boston, 1702. For 
an account of Emmes and descriptions and states of 
the plates, cf. Murdock; and Stauffer 1, 78-79. 


Stauffer 982. 


PHE Bure 4:12" 2.13.(7). Ciny.The Hus- 
band-man’s Magazine. Boston, 1718.) 
Early example of book illustration in Boston. 


The magazine was reprinted from one of the 
English editions of Profit and pleasure united, or The 
Husband-man’s magazine...By J. S. London, 1684. 


SIN BROUGHT BEFORE THE JUDGE... 4.7 x 2.10. 
(In: Richard Bernard; The Isle of Man... 
The Sixteenth Edition. Boston: Reprinted 
by J. Franklin...1719, frontispiece.) 

Early Boston book illustration. 
The book was reprinted from an English edition. 


(THE; Royatt CHARLES. 3 x 2.2. (In: ;John 
Eliot,, The Indian Primer... Boston: 
Printed by B. Green, 1720., at end.) 


Woodcut book illustration of a ship, published at 
Boston. 


Floor Case B 


(THREE “INDENTED BILLS” oF THE MAssa- 
CHUSETTS CoLoNny, dated 1690, 1708, 1710, 
showing some of the earliest paper money 
engraved in the English Colonies. 5.4 x 4 
(each). (In: Continental Money Collec- 
tion. ) 

[1.] ...Bill of Twenty Shillings... Boston in 


New-England, February the third 1690... no. 449. 
[Mss. reproduction. ] 

The earliest paper money engraved in the Colonies. 

Bearing the seal of the Colony. 

[2.] ...Bill of Twenty Shillings... Boston May 
the Thirty-first...Anno 1710... no. 7821. 

Bearing the seal of the Crown. 

{3.] ...Bill of Fourty [!] Shillings... Boston 
November the twenty-first Anno 1708... no. 1950. 

Bearing the seal of the Crown. 


“The scarcity of metallic money among the early 
colonists, and the necessary issue of a paper currency 


32 THE NEW YORK PUBLIC LIBRARY 


to meet this condition, probably created the first 
serious demand for the work of a copperplate engraver. 
The Colony of Massachusetts Bay authorized the 
issue of a paper currency in 1690 —the first among 
the American Colonies to thus relieve its monetary 
wants: and, judging from the crude character of the 
notes then circulated, the plate was engraved by 
some silversmith trained to engrave script, arms and 
ornament upon silver-plate, or pewter platters. This 
Massachusetts paper money was counterfeited almost 
as soon as issued; and this fact is sufficient evidence 
that the Colonial authorities did not employ all the 
engraving talent then available in New England. The 
simplicity of design and the coarseness of execution 
made imitation easy; and the early records of Massa- 
chusetts Bay teem with complaints against this fraudu- 
lent money; and that the Colonial Treasury might 
distinguish the good from the bad, it was compelled 
to resort to secret marks and to peculiar sequences 
and arrangement of the names signed to its own notes. 
In this early paper money of Massachusetts the en- 
graved portion included a more or less ornamental 
heading of scroll-work, the Seal of the Colony, and 
script setting forth the authority, place and date of 
issue and the denomination. The back of the first 
issue was left blank; the top edge of the note was 
‘indented,’ and each was signed by three members of 
a specially appointed committee. The immediate effect 
of the circulation of the fraudulent money...was an 
attempt to improve the successive issues of the Treas- 
ury’s notes. The money of 1702 shows a more com- 
plicated design in the seal and the script is better 
engraved than is the money of 1690; in 1713 the 
back of the bill was decorated with a very ornate 
cypher; the notes of 1736 are almost above criticism 
in the script-engraving and ornamentation; and the 
issues of 1742 and 1744 are so well engraved through- 
out that there is a strong probability that those plates 
were made in England. The first copperplate engraver 
of record in the American Colonies is John Conny 
[or Cony], a goldsmith and silversmith of Boston. 
Conny made the plates for the Massachusetts ‘bills of 
credit’ of 1702, as is shown by the records of the 
colony [Mss. Archives of Massachusetts, March 12, 
1702-1703] and there is sufficient similarity between 
this issue and the earlier one of 1690, to make it 
probable that he engraved the plates for that bill as 
well... [Nathaniel] Morse also engraved the plates 
for some of the early Massachusetts money.’? — 
Stauffer I, xxi-xxiv; cf. also p. 54-55. 


{+ Iwo “INDENTED BILts” oF THE COLONY OF 
New York, showing the earliest paper 
money made in New York.) 6.6 x 4 (each). 


[no. 1.] ...Bill of Five Shillings... Dated, New- 
York 31st of May, 1709... no. 3344. 


2.] ...Bill of Ten Shillings... 


[no. Dated, New- 
York 31st of May, 1709... no. 3377. 


(lwo “INDENTED BiLts” oF THE COLONY OF 
New JERSEY.) 5.8 x 3.8 (each). (In: Con- 
tinental Money Collection.) 


[no. 1-2. Bills of three shillings and twelve 
shillings.] Dated at Burlington the Twenty Fifth 
Day of March, 1724... Nos. 53239 and ? 

Bearing the royal arms. 


An instance of counterfeiting ‘Jersey Bills” is 
noted in advertisements in Bradford’s New York 
Gazette, March 6 to Monday March 13, 1726, ‘Public 
Notice is hereby given, that at Philadelphia they have 
found out some Twelve Shilling Jersey Bills that are 
Counterfeits: They are newly Printed and very art- 
fully Signed. In the flourish on the top of the Bill 
there is the representation of a Basket, which in the 
Counterfeit is much finer than in the True Bills, and 
the great T is much plainer than in the True Bills’; 
in the number for April 10 to April 17, 1727 [same 
year] “Publick Notice is hereby given, That Besides 
the Directions formerly given how to distinguish the 
Counterfeit New-Jersey Bills from the True Ones, 
you will find that the Name Parker (in many of the 
Counterfeit Bills) is writ with an H, thus Parher, 
and in others where they have writ the Name Parker, 
there is a great difference in the Letter K from the 
True bills signed by Coll. Parker. Notice is also 
hereby given, that there is found in the Possession 
of David Willson and David Wallace, (who are now 
in New-York Goal for Counterfeiting and Uttering 


[i.e. putting in circulation, as money, notes, base 
coin, etc.] Some of the Bills of Credit of this and 
the Neighbouring Governments) a Jewel of some value, 
and two horses’... From this are obtained the 
names of two men, possible engravers of the day. 


THE Banx Bri... Two Shillings... Dated 
at Ipswich ;Mass.; the First Day of May, 
1741... mo. 520. 5 x 3.4. 

With border and arms. 


Photostat, copy shown; original in the Library’s 
Collection of Continental Money. 


(Iwo Birts oF THE Province oF MAssA- 
cHusETTS Bay. 1742. 4.10 x 4. 
[no. 1.] ...Bill of Nine pence... June 20t® 1744 
--- [Dated] 1742. no. 9. : 


[no. 2.] ...Bill of one Shilling... June 20th 
1744... [Dated] 1742. no. 1. 


Each bearing the seals of the Crown, and the 
Province, and with elaborate borders. 


Photostat copies shown; originals in the Library’s 
Collection of Continental Money. 


NortH CaroLtina. xt s Forty SHILLIncs 
PROCLAMATION Money... ,1754,... 26 x 
4.4. (In: Continental Money Collection.) 


With border, and a cut of a public building within a 
two-line circle. Mutilated. 


(THREE BILts oF THE PRovINcE or MASSA- 

CHUSETTS Bay, 1742. 4.10 x 3.8. 

(no. 1.] ...Bill of Two Pence... June...1744... 
[Dated] 1742. 

[no. 2.] ...Bill of Six Pence... June 20 1744... 
[Dated] 1742. 

[no. 3.] ...Bill of Four Pence... June 20th 1744 
... [Dated] 1740. 


Bearing the royal arms and the seal of the Colony; 
with elaborate borders. 


Photostat copies shown; originals in the Library’s 
Collection of Continental Money. 


(Bitts oF South Carotina, 1779, 3 x 5. (In: 
Continental Money Collection.) 


.. Bill [for] Eighty Dollars...the gth 
0.] 3603. 


{rio. 1.] . 
day of FebY 1779...[no.] 

[no, 2.] ...Bill [for] Ninety Dollars...the 3th 
day of FebY 1779...[no.] 17911. 

[no. 3.] ...Bill [for] One Hundred Dollars...the 
8th day of FebY 1779... 

Remarkable for the design and quality of the work. 

“Thomas Coram, of Charleston, S. C... . designed 
and engraved the plates for the South Carolina money 
of 1779.” — Stauffer 1, xxv. 


sabe pce oF SouTtH CaroLina.; 1779. 2.12 
x 4 


Showing the verso of bills nearl _covered by large 
cuts of allegorical figures, etc. T is elaborate work 
was to render counterfeiting more difficult. 


Floor Case C 


cEARLY PHILADELPHIA NEWSPAPER Courts. 


Mercury, AND A Mountep Postsoy.; 1.4 x 
1.8. (In: The American Weekly Mercury, 
From Thursday April 23th, ;!; to Thursday 
April 30th, 1724. Philadelphia: Printed and 
Sold by Andrew Bradford ,1724, no. 228.) 


The first twenty-one numbers (22 Dec., 1719-12 
May, 1720) were without cuts. No. 22, 19 May 1720 
i Spl with two cuts. For continuation see under 


Hildeburn 213. 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 33 


tEARLY NEw York Newspaper Cuts. SEAL OF 
THE City or New York, AND A Post Rier.; 
1.12 x 18 (ovals). (In: The New-York 
Gazette, From April 17. to Monday April 
24, 1727. New York: Printed and Sold by 
William Bradford ,1727; no. 77.) 


William Bradford was the first New York printer. 


THE GENERAL MaGAzINE ANp HIsToRICAL 
CHRONICLE, For ALL THE BritisH PLANTA- 


TIONS IN AMERICA... January, 1741... 
Philadelphia: Printed and Sold by B. 
Franklin. 


Title-page to volume 1, showing the arms of the 
Prince of Wales. 


This monthly was the second magazine published 
in the Colonies. 


A Map oF THE COUNTREY OF THE FIvE Na- 
TIONS / BELONGING TO THE PROVINCE OF NEW 
YorK AND OF / THE LAKES NEAR WHICH THE 
NATIONS OF Far INDIANS / LIVE WITH PART 
OF CANADA TAKEN FROM THE Map oF THE / 
LOUISIANE DONE BY Mk, De LIsLeE IN 1718. / 
11724.; 8.10 x 13.10 (In: Cadwallader Col- 
den, Papers Relating To An Act of the 
Assembly Of The Province of New-York; 
For Encouragement of the Indian Trade... 
VVith a Map... Printed and Sold by 
William Bradford in the City of New- 
York, 1724.) 


First state. 


Shown in the North Wing Case of ‘Early Views’ 
Exhibition. 

This map is called, without definite proof, the first 
map engraved in New York. Without name of maker 
or engraver, place of publication or date, the fact 
that it was made to accompany Colden’s Papers, 
printed at New York by William Bradford in 1724, 
is established by the statement on the title-page of 
that work, “With a map.” The Delisle map, men- 
tioned in the title as the source is the ‘“‘Carte de La 
Louisiane Et Du Cours Du Mississipi... A Paris 
Chez lAuteur le S* Delisle... Juin 1718.”, cf. 
N, Y. P. L. (Bancroft) copy. A comparison of the 
two shows that the new map is a rough sketch of 
part of the French map, with many added names. 
The statement “taken from the map...of M*. De 
Lisle” was made in the broadest sense chiefly relating 
to the general outline and some place names. The 
significant fact is its crudeness in drawing and en- 
graving and the lack of that finish and beauty of all 
European map work of that date. This, with Brad- 
ford’s statement in his Gazette that he printed the 
map, goes far to prove its New York origin. 


The popular title ‘““The Colden Five Indian Na- 
tions’ Map’’ must not be confused with Colden’s later 
work “The History of the Five Indian Nations’... 
also published by Bradford, at New York in 1727, 
which is not known to have been issued with a map. 
Proof that the map was sold separately that year is 
found in the announcement in Bradford’s New York 
Gazette, ‘“‘From February 20 to February 27, 1726’: 
Advertisement. There is now in the Press, and will 
shortly be Published, The History of the Five Indian 
Nations... There is also a Map of the great Lakes, 
Rivers and Indian Countries, shewing the Scituation 
of the several Indian Nations... Both Printed and 
Sold by William Bradford in New-York. The follow- 
ing number of the paper, “From February 27 to 
Monday March 6, 1726’’ announces the book will 
“shortly be published’; it was published before the 
issue of the next number “‘From March 6 to Monday 
March 13, 1726”? which states ‘‘Just Publish’d, The 
History of the Five Indian Nations’... There is no 
mention of the map in this announcement. 


For the later edition see the following title. 


A Map oF THE CouNntTREY OF THE Five Na- 
TIONS / BELONGING TO THE PROVINCE OF NEW 
YORK AND OF / THE LAKES NEAR WHICH THE 
NATIONS OF FAR INDIANS / LIVE WITH PART 
a CaNnaDA & River St. LAwRENcE / 8.4 x 


Second state of the map first issued with Cad- 
wallader Colden’s Papers, New York, 1724 (see title 
above). With extensive changes on the plate, re- 
visions, etc., and the addition of about fifty place 
names. 


Advertised in Bradford’s New-York Gazette, num- 
ber “From August 18 to Monday August 25, 1735”: 
“On Monday next will be published a Map of the five 
Nations of Indians, with the Road from Albany to 
Oswego and the Situation of the Lakes.” The fol- 
lowing issue of the paper “From August 25 to Mon- 
day September 1, 1735,” announces the map as “Just 
Published... To be Sold by the Printer hereof.” In 
the opposite column of the same paper, under the 
caption date of Sept. 1, is the news that ‘“‘This day 
his Excellency William Cosby, Captain General and 
Governour in Chief of the Provinces of New-York and 
New-Jersey, intends to imbarque [!] for Albany to 
meet the six Nations of Indians, and Renew the 
Covenant Chain (as the Indians call the Treaty. of 
Peace.”’... The departure is noted in the next issue 
C aper. Thus it may be concluded that the re- 
issue of the map was due to the general interest in 
the renewal of the treaty of peace with the Indians. 


+ Boston Licut. From the original mezzo- 
tint, engraved in 1729. ;With dedication :; 
To the Merchants of Boston this View of 
the Light House is most humbly presented 
By their Humble Servt W™ Burgis. ;Photo- 
graph. 4.6 x 3.5. 


Shows an armed schooner at anchor, with two 
large English flags and a pennant. In right distance 
a_lighthouse_and four trees on a_ rocky headland. 
Signed ‘“‘W Burgis del. & fecit.’”? “The engraving of 
this print is very different from that of the New 
York and Boston views, and much cruder.” — Stokes, 
Iconography 1, 241. 

“William Burgis was a publisher of American maps 
and views as early as 1717. He also attempted mezzo- 
tint engraving — according to the evidence of a single 
large plate, very coarsely executed and signed W. 
Burgis del et fecit. This plate is a view of the light- 
house at the entrance to Boston Harbor... All the 
other known prints associated with the name of 
William Burgis are engraved in line, are usually well 
engraved, and several of them are signed by known 


engravers. The compiler contends that these prints 
hate simply published by Burgis’...— Stauffer, 1, 
36-37. 


Stauffer 284. 
See also ‘‘Early Views,” no. 50. 


MattHzvus Henry V. D. Ost. June 22. 1714. 
ZEt. 52. Signed :; N. Mors ;!; sculp. 5.13 x 
3.8 (with letters). (In: Matthew Henry, 
The Communicant’s Companion... The 
Tenth Edition, Corrected. Boston in New- 
England: Re-printed for T. Hancock, at 
the Bible and Three Crowns near the 
Town-Dock. 1731., frontispiece.) 


“The only engraving by Nathaniel Morse found by 
the compiler is a portrait of Rev. Matthew Henry, 
rudely engraved in line after a print by George 
Vertue... The Massachusetts Archives, Vol. 101, 
No. 525, contains a bill of 1735, showing that Morse 
was paid for engraving and_ printing a plate for 
Massachusetts paper money. This bill is signed ‘Nat. 
Mors,’ as is the engraving of Matthew Henry’’... 
— Stauffer 1, 183-184. 


Stauffer 2278. 


tEARLY PHILADELPHIA NEWSPAPER CUTS, 
SHOWING Mercury AND MoUNTED Post 
Boy. 1.5 x 18 (each). (In: The American 


34 THE NEW YORK PUBLIC LIBRARY 


Weekly Mercury, From Thursday Decem- 
ber 18th, to Tuesday December 24th, 1728. 
Philadelphia: Printed and Sold by William 
Bradford ,1728; no. 468.) 


Post boy as above is the old cut, but this is a 
different cut of Mercury which was changed some- 
time between no. 228 (23 April 1724) and no. 468. See 
under 1724, 


Hildeburn 322. 


tEarLy MARYLAND NEWSPAPER CUTS, SHOWING 
NEPTUNE AND MercurRY.) 2.3 x 6.8 each. 
(In: The Maryland Gazette. From Tues- 
day May 27 to Tuesday June 3, 1729. An- 
napolis: Printed by William Parks ,1729, 
no. xc.) 


This, the first newspaper south of Pennsylvania, 
was begun in September, 1727. Although similar in 
make-up to “The Ludlow Post-Man, Or the Weekly 
Journal,”’ a newspaper published at Ludlow, Shrop- 
shire, England, by one William Parks the cuts are 
not the same (cf. L. C. Wroth, A History of Printing 
in Colonial Maryland...1922, p. 74). 


Floor Case D 


{RUDE CUT OF A MAN PLAYING UPON A HARP, 
Photostat.; 4.14x 2.14. (In: MDCLXXXIIII. 
Cambridge Ephemeris. An Almanack... 
Calculated for the Meridian of Cambridg 
in N. England By N. Russel... Cambridge. 


Printed by Samuel Green 1684., at end.) 


Photostat reproduction of the only known copy of 
this almanac, in the Massachusetts Historical Society. 


Noadiah Russell’s Diary states: 12th 11th [1683] 
I went to Cambridge to carry my almanack to ye 
Press. 26. [1683] My Almanack was printed. S. A. 
Green, A List of Early American Imprints, p. 55. 


Tue ARMS OF THE FaMILy oF LEEps. 1.8 x 3. 
(In: The American Almanack For the 
Year of Christian Account, 1728... By 
Titian Leeds, Philomat... 
Printed by S. Keimer... (Beware of the 
Counterfeit One.) ,1727.;, on title-page.) 
The arms within a scroll. 

Hildeburn 308. 


THE GENUINE LeEps ALMANACK. (Inscription 
in the scroll below the Arms of the Leeds 
family.) 2 x 3. (In: The American Al- 
manack for...1732... By Titian Leeds, 
Philomat... Philadelphia: Printed and 
Sold by Andrew Bradford. ..;1731;, on 
title-page. ) 

Not Hildeburn 426 which is an edition with dif- 
ferent imprint. 


tfEARLY BOosTON NEWSPAPER CUTS, SHOWING 

PINE TREE, AND SHIP AND LIGHTHOUSE.) 

1.12 x 2 (each). (In: The Boston Gazette. 

Published by John Boydell. From Monday 

November 15, to... November 22. 1736. 

Boston: Printed by S. Kneeland & T. 

Green, (1736; no. 880.) 

The Boston Gazette, the second Boston paper, was 
first issued 21 December 1719. The devices in the 
paper shown were used from 23 June 1735 to 19 
October 1741. Previous to this two sets were used, — 
beginning 21 Dec. 1719 with: (1) Ship, on left, (2) 
Postboy riding a horse and blowing a horn, on right; 
from 20 Nov. 1732, with: (1) Ship and Lighthouse, 
on left, (2) Postboy [etc.], on right; from 20 Oct. to 


Philadelphia: — 


27 Oct. 1741, no device. (For continuation see issue 
of paper for 15 March 1743.) —cf. M. F. Ayer and 
A. Matthews, Check-list of Boston Newspapers 1704- 
1780. Boston, 1907, p. 449 (The Publications of the 
oe Society of Massachusetts. vol. ix. Collec- 
tions. 


This cut of the “Ship and Lighthouse,” first used 
in the paper in 1732, was possibly suggested by the 
ess of “Boston Light” published in 1729 (see Case 


tEarRLY BosToN NEWSPAPER CUTS, SHOWING 
MountTep Postsoy, AND Surp.; 1.10 x 2 
(each). (In: The Boston Weekly Post-Boy. 
Monday, March 12, 1742. Boston: Printed 
for E. Husk ;1742.; no. 348.) 


The sixth newspaper published at Boston, begun in 
October or November, 1735, with the first nown 
surviving issue dated April 21, 1735, which carries 
the two devices shown above (1) Ship, on the left, 
(2) Postboy on horseback, blowing a horn, riding 
to the right, on right. These were used until 11 June 
1750 when new devices were substituted. For later 
devices, cf. Ayer and Matthews, Check-list of Boston 
Newspapers, p. 472. 


tEarLy BosTON NEWSPAPER CUTS, SHOWING 
NEWSBOY AND SHIP AND LicgHTHOUSE.; 1.3 x 
18 (each). (In: The Boston Gazette, or 
Weekly Journal. Tuesday March 15, 1743. 
Boston: Printed by Kneeland and Green, 
11743.) no. 1098.) 


A_ continuation of the paper first printed at Boston 
in 1719 with changes in devices from time to time. 
(Cf. issues for 1732 and 1736.) October 27, 1741, 
the paper again appeared with two devices as shown 
above: (1) Postboy holding in his right hand a sign 
reading “Gazette or Journal,” on left, (2) Ship and 
Lighthouse, on right. This is a new and smaller 
cut of the Ship and Lighthouse, not the same as used 
in 1736. The Newsboy stands with a background of a 
row of houses, and a building with a steeple. (For 
later devices see issue of paper for May 2, 1753.) 
cf. Ayer and Matthews, p. 449-450. 


tEARLY ADVERTISING CUTS REPRESENTING 
SLAVES.] 1 x .12; .14 x .8 (In: The South- 
Carolina Gazette... Monday, February 
20th, 1744. Charles-Town: Printed by 
Peter Timothy, ,1744.; no. 517.) : 


Showing cuts of: (1) _Two slaves to be sold with 
“a parcel of good Plantation Slaves”; (2) ‘‘Runaway, 
a young negro boy.” 


tfEARLY BosTON NEWSPAPER CUTS, SHOWING 
Man AND Two CuHitpreNn.; 1.8 x 1.14. (In: 
The Boston Gazette or, Weekly Advertiser. 
Tuesday, May 2, 1753. Boston: Printed by 
Samuel Kneeland, (1753.; no. 18.) 


With further changes in devices (cf. issues for 
1732, 1736 and 1743). This device appeared in the 
issue for Jan. 3, 1753, and was used until Dec. 23, 
1753. ‘‘For the want of a more appropriate device, a 
very singular cut was used in its title, which had 
been designed and engraved for the Ixxvth fable of 
Croxall’s Esop, representing the boy viewing himself 
in the glass; his little sister, who was offended with 
his vanity, and their father who moralized on the 
subject of their indifference... Several of the cuts 
for Esop’s Fables were engraved by a remarkably 
good workman, whose name was Turner, of Boston. 
He was the best engraver which appeared in the 
colonies before the revolution, especially on type 
metal. D. Fowle having a part of this set of cuts, 
used them, from time to time, to decorate the title 
of The New Hampshire Gazette.’? — Isaiah Thomas, 
The History of Printing in America, 1810, v. 2, p. 
238. (For later devices cf. Ayer and Matthews, p. 450.) 


ONE HUNDRED NOTABLE AMERICAN ENGRAVERS 35 


Floor Case E 


tARMS ON TITLE-PAGE.] 2.10 x 5.3. (In: Laws, 
Statutes, Ordinances, and Constitutions... 
of the City of New York, for the good Rule 
and Government of the...said City. Pub- 
lished the Twenty-Seventh Day of January, 
and the First Day of February...1748... 
ees 7} Printed and Sold by J. Parker 


(VIGNETTE CUT ON TITLE-PAGE.} 2.8 x 4. (In: 
The New American Magazine... No. 1. 
For January, 1758... By Sylvanus Ameri- 
canus ,;Samuel Nevil.; Woodbridge, in 
New-Jersey: Printed and Sold by James 
Parker. . .,1758}) 

“We designed a hieroglyphical Cut for our Front; 
but having been disappointed by the Engraver, we 


are obliged to send forth our first Number with the 
above.’’ — Note on the title-page. 


The new cut appeared on the February number. 


——— 24 x 3.12. (In: Same. 
September, 1759.) 


Showing the new cut. 


No. xxi. For 


A PLAN OF THE HARBOUR OF ST. AUGUSTINE 
AND THE ADJACENT PARTS IN FLORIDA REP- 
RESENTING THE FIELD OF ACTION WITH THE 
DISPOSITION OF THE FORCES BEFORE THAT 
CASTLE IN THE EXPEDITION UNDER GENERAL 
OGLETHORPE IN 1740. P. Harrison Delt. M. 
Sarrazin Sculpt. 9.6 x 6.12. (In: The Re- 
port of The Committee, of Both Houses 
of...Assembly...Appointed to enquire into 
the Causes of the Disappointment of Suc- 
cess, in the Late Expedition Against St. 
Augustine Under...General Oglethorpe 
... South-Carolina, Charlestown, Printed 
by P. Timothy, 1742., frontispiece.) 

This is not the plan issued in ‘‘An Impartial 
account of the late Expedition against St. Augustine 

London, 1742.”’ 

“To shew that the disposition which the General 
made of the Troops was not proper... Your com- 
mittee have annexed to their Report, a Plan of the 
Field of Action.” — p. 98. 


A Norru-WEstT Prospect oF NAssau-HAL_t, 
WITH A FRONT VIEW OF THE PRESIDENTS 
House, IN New-Jersey. W. Tennant Del. 
Hi Dawkins Sculp. 7.13 x 13.2. (In: An 
account of the College of New-Jersey... 
Published, by order of the Trustees, for 
the information of the public; particularly 
of the friends and benefactors of the insti- 
tution, in Europe and America. Wood- 
bridge, in New-Jersey: Printed by James 
Parker, 1764., frontispiece. ) 

“Henry Dawkins was one of the earlier engravers 
in the American Colonies... He located in New York 
as early as 1754...was working with James, Turner 
in...[Philadelphia] in 1758... He remained in 
Philadelphia until 1774 when he returned to New 
York... As an engraver Dawkins was chiefly occu- 
pied in the production of book-plates, bill-heads, map 
ornaments, etc. This work is executed in line and is 
fairly good. His large plate of Nassau-Hall, at Prince- 
ton, aes probably his best work”... — Stauffer 1, 


pb. 61 
Stauffer 466. 


{ (WoopCUT REPRESENTING THE FABLE OF HErR- 
CULES AND THE WAGGONER. Photograph. 
2.10 x 3.2. (From: ;Benjamin Franklin,, 
Plain truth: or, Serious Considerations on 
the Present State of the City of Phila- 
delphia and Province of Pennsylvania. By 
a Tradesman of Philadelphia. ,Philadel- 
phia:; Printed ,By Benjamin Franklin, in 
the year 1747, verso of title-page.) 


Beneath the title: Non Votis, &c. 
Sabin 25563. 
Lent by G. S. Eddy. 


~,Birt For; OnE Suiting ANp THREE 
PENCE... CiTy oF CHARLESTOWN... Dated 
6th Day of July 1789... 2.3 x 5.4. 


One of the few pieces of engraved money signed 
by the engraver: Abernethie Sculp. Scroll at top and 
sides; with cuts of tobacco plant and hogshead. Maps 
in David Ramsay’s ‘“‘History of South Carolina... 
een 1785” are signed: Abernethie Sc. Charles- 
on, 


See: Stauffer 1, p. 3; 11, 1-2. 


+ (ENGRAVED MUSIC, 94 p., variously signed: 
J. W. Gilman sculpt., I. W. G., J. W. G. sc., 
etc. (In: The American Harmony: or 
Universal Psalmodist. By A. Williams. 
Newbury-Port, 1769.) 


A later edition, Newbury-Port, 1771, is noted by 
Stauffer who states, 1, p. 99, “‘A study of the ‘Gilman 
Genealogy’ leads the writer to assume that this en- 
graver was John Ward Gilman, born in Exeter, 
Mass., May 9, 1741, and died in the same place, June 
16, 1823. There is no record of the career of John 
Ward Gilman, other than that he was postmaster of 
Exeter for forty years. Exeter is only about fifteen 
miles from Newburyport, and this crude work might 
have been done by Gilman of the former town.”’ 


Music was engraved also by Thomas Johnston. cf. 
Note to following entry. 


Lent by V. H. Paltsits. 


+ Books BounpD AND SOLD, GILT OR PLAIN, BY: 
ANDREW BarcLay, NExT Door BUT ONE TO 
THE SIGN OF THE THREE KINGS IN CORNHILL 
Boston. — Also smaller ticket with similar 
inscription.; 6.8 x 4.8. 


Earliest American engraved bookbinder’s tickets; 
about 1766-1767. Two on one plate, intended to be 
cut, for use in books of different sizes; probably 
engraved by Thomas Johnston (1708-1767). 


“Johnston was a fairly good engraver of maps, 
buildings, book-plates, sheet music, etc... [and] did 
his best work as a heraldic engraver”... Stauffer 1, 
p. 144. Johnston is credited by Stauffer, 11, 1506, with 
engraving music for ‘‘A new version of the Psalmes 
of David fitted to the tunes used in churches, by N. 
Brady... Boston, 1755.,’’ some copies of which con- 
tained sixteen pages at end, ‘“‘Music engraved, printed, 
and sold by hong Johnston, Boston, 1755.’’ (Evans 


: 7358, N. Y. P. L. copy in contemporary binding, with- 


out the music.) 


Found pasted on inside of front cover of “The 
American Harmony,” 1769. 


Lent by V. H. Paltsits. 


rPOLITICAL CARICATURES. 5.8 x 4.5. (In: 
J. S. J. Gardiner, Remarks on the Jacob- 
iniad. Boston, 1795.) 


Shows: Justice Vinal. 


36 THE NEW YORK PUBLIC LIBRARY 


tPOLITICAL CARICATURES.; CONGRESSIONAL 
PucILists... CoNncress Hatt, In Purap, 
Fes. 15, 1798. 6.4 x 8.12. (In the: Contin- 
ental Money Collection.) Etching. 


Second state, with marginal references, names, etc., 
but without the last line of the imprint, possibly cut 
off,: S. E. Cor. 6t8 & Chestnut St. Number “17” at 
upper right. 


The pugilists are Mathew Lyon of Vermont, and 
oger Griswold of Connecticut. 


Reproduced, with text “Caricature of an early 
fracas in Congress,” in “The Historical Magazine,” 
January, 1864, vol. vi1r, no. 1, p. [9]-12. 


Stauffer-Fielding 1803. 


Floor Case F 


{COMPANION PORTRAITS OF; WASHINGTON 
[AND]} Lapy WasHINGTON. ,;Without name 
of engraver, date, or other lettering.; Stip- 
ple. 

(1) Washington. Unknown;  Stuart-Lansdowne 
type. Whole length standing, full front, head to left, 
right hand extended as in act of speaking, left hand 
on sword; to left a table etc., to right an arm chair, 
and in background two rows of pillars, with curtains 
partly drawn. Within two-line border. 8.8 x 6. 


(2) Lady Washington. Seated, to right, with fan in 
right hand; background, pillars and drawn curtain. 
Within one-line border. 7.13 x 5.11. 


Hart 309 (resembling 285). Holden 408. 


+ (COMPANION PORTRAITS OF; His EXCELLENCY 
GENERAL WASHINGTON ,AND, Lapy WasH- 
INGTON. ;Without name of engraver, date, 
or other lettering, Line. 4 x 6.6 (each, 
on same plate). 


(1) Washington. Unknown; Peale type; bust, to 
left, in uniform. Oval, with border in which is title, 
at top; in a rectangle, with border, on a base. 


(2) Lady Washington. Unknown. Young, slender, 
with hair dressed high, and hat. 


Early American work. 
Hart 47. 


+ A SATIRICAL POLITICAL BROADSIDE:; AN EX- 
CELLENT NEW PATRIOTIC SONG, occasioned by 
the Bloody Sea-Battle Between the L’Em- 
buscade Frigate...and the Boston Frigate 
...near Sandy-Hook, Aug. 1, 1793, which 
lasted 3 Glasses... Printed for the Pur- 
chaser. — Sold by the Flying-Traders in the 
Union. . .,1793.; 16 x 12.8. 


_Printed in three columns; with 2 rough cuts of 
ships, and one of a soldier with sabre. 


+} TRIUMPH oF Liserty. DepicaTep To Its DE- 
FENDERS IN AMERICA. Drawn by J» Fis Re- 
nault N. York September 1795. Engraved 
by P. C. Verger N. York November 1796. 
13.8 x 18.8. 


Accompanied by a ‘‘Prospectus” [found pasted on 
the verso] printed in double columns, in English and 


French, giving a description of the plate, and the 
dedication signed “By Renault, sen. Author of the 
Work.” This is followed by the statement “I, the 
undersigned, having taken all the necessary steps for 
the engraving, paper and printing of the impression 
of the Picture...in conjunction with Mr. Renault, 
sen. Author of the above work, we this day open a 
subscription...for the engraving... We have spared 
neither trouble nor expense to procure the best paper 
and engraving. [Signed] Renault & Verger. De- 
cember 1, 1796. 

This impression does not contain the description 
pote by Stauffer, following the title and dedication 
ines. 

It is not thought that this elaborate work in the 
French style was done in New York, where it was 
issued by Renault and Verger, but in France for the 
American market. For an account of these men and 
this work see Stauffer 1, p-. 281-283. Shown because 
of its imprint and subject interest. 


Stauffer 3344, 


7 NEw York Fire DeparTMENT IN 1762. Sir 
You are hereby notified of a Meeting of 
the Hand-in Hand Fire Company at the 
House of Mr Crawley, at the City Arms, 
on Thursday next at Seven o’Clock in the 
Evening To The Rt. Honbl., The Earl of 
Sle rSigned; Isaac Roosevelt. Clerk ’ 

+ x 0.6. 


Date, place of meeting, names of recipient and 
clerk in mss. 


_ An engraved invitation with view of burning build- 
ings, and firemen at work, at top; all within an 
elaborate ornamental frame. Engraver unknown; pos- 
sibly Thomas Johnston or Robert Aitken. 


t New-York. 6.12 x 13.4. Aquatint. (Part 
of: A View of the First Cities of the 
Bion States. boquet fecit sculpsit. ca. 


This is the upper right of the series of six views 
forming the large “View” made by J. L. Bouquet de 
Woiseri; see no. 174 of “Early Views”; also no. 
176. It shows the end of Manhattan Island taken 
from Brooklyn. 


Stauffer-Fielding 159. 


{ (UNIDENTIFIED PORTRAIT OF THOMAS JEFFER- 
son; of marked individuality and charac- 
tery 514 xe 


With paper probably placed over letters on the 
plate before this impression was taken. 


} ...ELecy On tHe DeatH or James Law- 
RENCE, EsgQ...LATE COMMANDER OF THE 
U. S. Fricate CHESAPEAKE... Design’d & 
Engrav’d by A. Bowen. A Bowen, Printer. 
13.12 x 9.8. : 


At head_of title: Sweet Sleep The Brave. Jas. 
Lawrence, Esquire. Died, June 4th, 1813. Aged 31 
Years. 

Printed on satin in double columns, with engraving 
above. 


Fielding 162. 


INDEX OF ENGRAVERS 


The numbers refer to the Wall Cases, the letters to the Floor Cases. 


Abernethie, Floor Case E, 

Aitken, Robert, 2, Floor Case F. 

Akin, James, 17. 

Akin, Mrs., 17. 

Allardice, Samuel, 11. 

Anderson, Alexander, 14. 

Armstrong, William G., 37. 

Balch, Vistus, 31. 

Balch, Rawdon & Co., 31. 

Bannister, James, 37. 

Barber, John Warner, 31. 

Barralet, John James, 5. 

Bennett, William James, 23. 

Birch, William, 17. 

Bouquet de Woiseri, J. L., Floor Case F. 

Bowen, Abel, 22, Floor Case F. 

Bowes, Joseph, 18. 

Boyd, John, 21. 

Bridport, Hugh, 25. 

Burgis, William, Floor Case C. 

Callender, Benjamin, 14. 

Callender, Joseph, 5. 

Casilear, John W., 33. 

Charles, William, 22. 

Cheney, John, 28. 

Childs, Cephas G., 27. 

Clarke, Thomas, 15. 

Clay, Edward W., 27. 

Conny (or Cony), John, Floor Case B (note 
to Massachusetts bills 1690, etc.). 

Copley, John Singleton, 4. 

Coram, T., 5, Floor Case B. 

Cushman, George H., 33. 

Dainty, John, 33. 

Danforth, Mosely Isaac, 32. 

Dawkins, Henry, 3, Floor Case E. 

Dewing, Francis (see reference in list, un- 
der Wall Case 2). 

Dodson, Richard W., 33. 

Doolittle, Amos, 16. 

Drayton, J., 26. 

Dunlap, William, 10. 

Durand, Asher Brown, 29, 30. 

Durand, Cyrus, 30. 

Durand & Co., 29. 

Durand (A. B. & C.), Wright & Co., 30. 


Eckstein, John, 21. 

Eddy, Isaac, 25. 

Edwin, David, 15. 

Egelmann, Carl Friederich, 21. 

Emmes, Thomas, Floor Case A. 

Fairman, Gideon, 21. 

Févret de St. Mémin, 14. 

Field, Robert, 11. 

Foster, John, Floor Case A. 

G., J. W. See Gilman, J. W. 

Gallaudet, Elisha, 5. 

Gilman, John Ward, 5, Floor Case E. 

Gimbrede, Thomas, 25. 

Gobrecht, Christian, 21. 

Goodman, Charles, 21. 

Graham, George, 16. 

Greenwood, John, 1. 

Gridley, Enoch G., 15. 

Haines, William, 18. 

Halpin, Frederick, 36. 

Hamlin, William, 10. 

Hatch, George W., 37. 

Hatch & Smillie, 32. 

Havell, Robert, Jr., 31. 

Hill, James, 17. 

Hill, John, 24. 

Hill, John William, 24. 

Hill, Samuel, 10. 

Hiller. Jer: 

Hinshelwood, Robert, 36. 

Hoogland, William, 26. 

Houston, H. H., 10. 

Humphrys, William, 37. 

Hurd, Nathaniel, 2. 

Jennys, Richard, Jr., 2. 

Johnston, Thomas, 2, Floor Cases E and F. 

Jones, Alfred, 36. 

Kearny, Francis, 25. 

Kelly, Thomas, 26. 

Kneass, William, 37. 

Lawson, Alexander, 18. 

Leney, William Satchwell, 20 (See also note 
to Wm. Rollinson’s Prospectus, Wall 
Case 19). 

Longacre, James Barton, 25. 

Maverick, Peter, 8. 


[ 37] 


38 THE NEW YORK PUBLIC LIBRARY 


Maverick, Peter Rushton, 8-9. Savage, Edward, 12-13. 

Maverick, Samuel, 32. Schoff, Stephen Alonzo, 36, 37. 

Morse, Nathaniel, Floor Case C. Scoles, John, 11. 

Neagle, James, 18. Seymour, Joseph H., 13. 

Neagle, John B., 26. Seymour, Samuel, 13. 

Norman, John, 4. Smillie, James, 32, 34. 

Okey, Samuel, 5. Smillie & Hinshelwood, 36. 

Otis, Bass, 22. Smither, James, 5. 

Paradise, John Wesley, 33. Sparrow, T., 3. 

Peale, Charles Willson, 9. Strickland, William, 27. 

Pease, Joseph Ives, 37. Tanner, Benjamin, 6 (publisher), 22. 

Pekenino, Michele, 29. Thackara, James, 9. 

Pelham, Peter, 1. Thackara & Vallance, 9. 

Poupard, James, 5. Tiebout, Cornelius, 6-7. 

Prud’homme, John Francis Eugene, 33. Tisdale, Elkanah, 10. 

Rawdon, Freeman, 31-32. Trenchard, E. C345) 

Rawdon, Clark & Co., 32. Trenchard, James, 9. 

Rawdon, Wright, Hatch & Smillie, 32. Turner, James, 2. 

Reed, Abner, 10. Vallance, John, 11. 

Revere, Paul, 3. Verger, P. C., Floor Case F. 

Rollinson, William, 19. Woiseri, J. L. Bouquet de, Floor Case F. 

Romans, Bernard, 9. Woolley, William, 16. 

St. Mémin, Charles Balthazar Julien Févret Wright, Charles Cushing (A. D. & C. Du- 
de, 14. rand, Wright & Co.; Rawdon, Wright, 

Sarrazin, M., Floor Case E. Hatch & Smillie), 30, 32. 


Sartain, John, 35. Wright, Joseph, 5. 


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